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EARLY   INFLUENCE 


OF 


GERMAN    LITERATURE 


IN 


AMERICA. 


BY 

FREDERICK  H.  WILKENS. 


Reprint  No.  1 

AIVlERICANA    OERMANICA 

Vol.  III.     No.  2 


Publishers: 


IRew  IL'orft:  TLon&on: 

THE  MACMILLAN  COMPANY  MACMILLAN  &  CO.,  Lt'd 

JSerltn: 
MAYER  &   MULLER 


UNIVERSIl^:;'  Or   TALIFORNIA 
A<i?  SANTA  BARBARA 


EARLY  INFLUENCE  OF  GERMAN   LITERATURE 
IN  AMERICA. 


Any  retrospect  of  the  civilization  of  the  United  States  during 
the  centur}^  now  drawing  to  a  close  would  be  incomplete  if  it 
neglected  to  give  due  recognition  to  the  influence  of  German 
culture  on  the  higher  artistic  and  intellectual  life  of  the  nation. 
In  the  pursuit  of  knowledge  in  all  its  forms,  in  the  cultivation 
of  literature,  music,  and  the  arts,  the  influence  of  Germany  has 
been  deep  and  inspiring.  Any  one  of  these  fields  offers  ample 
rewards  to  the  student  of  the  cultural  relations  of  the  two 
people.  Confining  ourselves  to  literature  alone,  the  relations 
between  Germany  and  the  rich  literary  and  intellectual  life  of 
New  England  during  our  century  are  so  well  known  as  to 
form  an  open  chapter  in  the  history  of  American  literature. 
Since  the  time  when  Ticknor  and  Everett  (in  1815)  and,  follow- 
ing them,  many  of  the  greatest  intellects  of  our  country  sought 
inspiration  at  the  shrines  of  German  learning,  and  became 
prophets  of  German  literature,  which  they  had  learned  to 
appreciate,  the  influence  of  German  culture  on  our  national  life 
has  never  ceased.  German  literature,  while  it  was  still  a  privi- 
lege of  the  chosen  few  who  craved  new  revelations,  probably 
acted  upon  the  hearts  with  an  intensity  which  has  passed  away 
now  when  its  highest  efforts  have  won  the  restful  distinction  of 
classic  literature.  The  stream  flows  broad,  majestic,  and 
imperturbable  at  the  present  time  and  bears  many  crafts. 
While   the  knowledge   of   German    in  the  beginning   of    our 


4  Early  hifluence  of  German  Literature  in  America. 

century  was  so  rare  as  to  confer  distinction,  it  has  long  become 
a  requisite  of  general  education  and  has  attained  a  vogue  which 
would  probably  have  seemed  a  sheer  impossibility  a  hundred 
years  ago. 

It  is  the  purpose  of  this  study  to  deal  with  the  influence  of 
German  literature  in  America  during  an  earlier  period  when 
the  German  language  was  practically  unknown,  and  when  the 
significance  of  German  culture  and  literature  was  but  imper- 
fectly appreciated.'  It  would  be  unreasonable  to  censure  our 
country  for  this ;  it  will  rather  be  our  aim  to  unfold  the  causes 
to  which  this  want  of  understanding  was  due. 

It  is  in  the  nature  of  things  impossible  to  draw  a  sharp 
boundary  line  between  different  phases  of  literary  development. 
It  has  been  deemed  advisable,  however,  to  confine  these  observa- 
tions to  a  period  including  and  antedating  the  first  quarter  of  our 
century.  This  is  a  period  upon  which  the  historian  looks  with 
somewhat  unj  ustifi*able  soreness  of  heart ;  it  is  the  time  of  plentiful 
American  reprints  of  the  issues  of  the  English  press,  with  but  few 
original  contributions  of  any  value.  The  mournful  complaint 
of  the  American  author  of  the  time  about  want  of  encouragement 
dins  in  our  ears  on  turning  over  the  pages  of  long-forgotten 
American  reviews.  It  was  hard  for  him  to  realize,  or,  when 
realized,  to  acquiesce  in  the  fact  that  it  was  impossible  for  him 
to  compete  with  the  accepted  classics  of  English  literature  and 
the  new  developments  of  the  end  of  the  last  and  beginning 
of  the  new  century.  A  literary  movement,  however,  cannot  be 
made  to  order,  and  we  do  well  to  derive  some  satisfaction  from 
the  fact  that  the  American  public,  with  much  trash,  read  much 
that  was  valuable,  even  though  not  a  native  product. 

It  would  be  useless  to  claim  that  America  could  vie  with 
England  or  Germany  in  appreciation  of  literature.  American 
civilization  was  far  too  conservative  to  permit  of  that  play  of 

^  The  consideration  of  German  literature  among  the  Germans  of  Pennsyl- 
vania does  not  fall  within  the  scope  of  our  article.  On  this  subject  many 
interesting  communications  have  been  made  in  the  pages  of  Americana 
Germanica  and  elsewhere. 


Frederick  H.  Wilkens.  5 

sentiment  and  imagination,  or  to  favor  the  experimental 
handling  of  social  problems,  a  certain  amount  of  which  is  an 
absolute  requisite  for  art  production,  or  even  art  appreciation. 
The  radicalism  introduced  by  the  French  Revolution  was  un- 
doubtedly helpful  to  bring  into  favor  certain  products  of  German 
literature  like  the  works  of  Schiller  and  Kotzebue.  But  it  is 
well  known  that  the  French  Revolution  affected  the  political 
life  of  the  nation  more  than  its  intellectual  or  art  life.  Con- 
ceding all  this,  it  is  nevertheless  true  that  the  American  public 
was  always  a  reading  public.  Charles  Brockden  Brown  ex- 
presses himself  on  this  subject  in  words  that  evidently  reflect 
his  convictions:^  "Ill-informed  persons  might  draw  false  infer- 
ences from  the  scarcity  of  original  books  among  us.  .  .  . 
America  is  probably  as  great  a  mart  for  printed  publications  as 
any  country  in  the  world ;  the  proportion  of  readers  is  probably 
not  exceeded  even  in  England  and  Germany."  He  also  refers  to 
the  difficulty  of  forming  a  bibliography  of  these  publications 
owing  to  the  fact  that  there  were  twenty  to  thirty  publishing 
towns  in  the  United  States. 

These  reprints  give  us  the  best  idea  of  the  extent  to  which 
English  works  were  circulated  in  this  country,  and  they  deserve 
attention  from  this  point  of  view.  We  cannot  depend  for  our 
information  on  reviews  or  annual  catalogues  or  any  of  the  other 
means  we  have  at  the  present  day  for  obtaining  a  knowledge  of 
new  publications.  During  the  last  century  the  problem  was 
attempted  again  and  again,  but  never  solved  satisfactorily,  how 
to  produce  a  periodical  publication  of  sustained  vitality.  Scores 
of  reviews  and  magazines  were  started,  each  one  according  to 
the  sanguine  hopes  of  the  editor  the  successful  periodical  of  the 
future,  but  all  perished  after  more  or  less  protracted  struggle. 
There  is  something  irresistibly  comic  in  this  constant  repetition 
of  the  same  experience,  unless  we  should  feel  inclined  rather  to 
respect  our  ancestors  for  their  tenacity  in  the  face  of  adverse 
fortune.     We  must  remember  the  small  size  of  even  the  princi- 

'  The  American  Register  and  General  Repository  for  1806-07,  Vol.  I. 


6  Early  bijiiience  of  Germari  Literahire  in  America. 

pal  towns  of  the  country  and  the  restricted  local  circulation  of 
such  magazines,  to  appreciate  the  difficulty  of  the  task.  Even 
when  reviews,  towards  the  beginning  of  the  century,  had  some 
hope  of  greater  longevity,  reprints  do  not  form,  as  a  rule,  a  sub- 
ject for  their  consideration  unless  they  set  aside  part  of  their 
space  for  a  list  of  books  newly  published  in  America. 

From  the  fact  that  a  practical  acquaintance  with  German  was 
extremely  rare  in  America  during  our  period  it  is  clear  that 
German  literature  must  reach  our  country,  if  at  all,  through  the 
medium  of  reprints  of  English  translations.  This  was  the  case. 
The  few  original  translations  from  the  German  made  in  America 
during  this  early  period  will  receive  attention  in  proportion  to 
the  rareness  of  any  such  efforts.  Strictly  speaking  the  reprints 
of  translations  should  be  judged  in  connection  with  the  whole 
subject  of  American  reprints.  The  fact  is  frequently  empha- 
sized by  contemporary  and  modern  writers  that  reprinting  was 
done  in  an  absolutely  indiscriminate  fashion,  the  stamp  of 
approval  by  an  English  audience  being  sufficient  to  obtain  cur- 
rency for  a  work  in  America.  We  may  concede  the  general 
truth  of  this  remark  and  still  hold  the  opinion  that  the  attitude 
of  the  American  public  must  have  been  a  selective  one,  in  some 
ways,  towards  the  large  mass  of  prints  that  flowed  in  from 
England  directly  or  through  the  intermediary  of  reprints.  To 
deny  this  fact  would  be  equivalent  to  denying  the  difference 
between  the  political  and  social  development  of  England  and 
America.  Such  investigations  do  not  to  my  knowledge  exist, 
leaving  us  to  interpret,  to  the  best  of  our  means,  the  special 
significance  which  these  reprints  of  German  translations  pos- 
sess for  America.^ 

While  the  reprints  of  English  literature  give  us  the  best  idea 
what  books  were  more  or  less  extensively  read,  it  is  hardly 
necessary   to  mention  that  many  books  were    imported    from 


^  That  the  significance  of  these  reprints  is  not  overlooked  is  shown  by  the 
fact  that  they  are  usually  enumerated  with  the  originals  in  modem  biographical 
works  on  English  authors.     To  obtain  trace  of  them  is  the  principal  difficulty. 


Frederick  H.   IVilkens.  7 

England,  or  in  the  form  of  Dublin  reprints.  Among  these  were 
many  works  that  appealed  only  to  a  limited  circle  of  readers 
and  found  a  place  on  the  shelves  of  the  society  libraries  that 
existed  in  all  the  larger  towns  of  the  country,  or  in  the  collec- 
tions of  the  educated  book  lover.  Among  this  class  of  litera- 
ture were  many  translations  from  the  German  which  it  would 
not  have  paid  to  reprint  in  America.  Circulating  libraries  fur- 
nished the  public  with  abundant  reading,  much  of  it  of  an 
ephemeral  character. 

While  it  has  been  our  duty  to  call  attention  to  the  imperfectly 
developed  sides  of  American  culture,  in  order  not  to  appear 
guilty  of  seeming  to  enhance  the  value  of  our  discussion  at  the 
expense  of  truth,  it  would  be  as  unfair  to  hide  the  brighter 
sides  of  the  picture.  Among  the  conditions  favorable  to  literary 
appreciation  may  be  mentioned  the  respectable  and  established 
intellectual  culture  of  Philadelphia,  the  tendency  of  Boston 
towards  intellectual  predominance,  the  first  signs  of  which  made 
themselves  felt  by  the  beginning  of  our  century,  and  the  ambi- 
tious attempts  of  the  literary  circles  of  New  York  during  the 
end  of  the  eighteenth  and  beginning  of  the  nineteenth  century 
which  presaged  the  coming  of  greater  lights  of  literature. 
Apart  from  the  fact  that  reading  was  general  (as  already  stated), 
eloquence  in  all  its  forms,  as  pulpit,  forensic,  and  parliamentary 
eloquence,  appealed  to  Americans,  and  we  often  hear  the  claim 
advanced  in  the  beginning  of  our  century  that  America  excels 
all  nations  in  forensic  eloquence.  We  need  only  refer  to  the 
fact  that  the  beginnings  of  Cooper  and  Washington  Irving'  fall 
within  our  period,  not  to  mention  the  earlier,  highly  creditable 
work  of  Charles  Brockden  Brown.  After  these  introductory 
remarks — to  say  more  would  carry  us  away  too  far  from  the 
purposes  of  our  investigation — we  may  proceed  to  the  considera- 
tion of  our  subject. 


'  Both  Cooper  and  Irving  enjoyed  the  greatest  popularity  in  Germany.  We 
could  quote  several  examples  of  eminent  German  authors  and  critics 
declaring  Irving  to  be  their  favorite  author. 


<^ 


8  Early  hifiueiice  of  Germaii  Literature  i7i  America. 

Gessner  and  Klopstock. 

The  first  work  of  German  literature  that  reached  America 
proved  also  the  most  popular  of  all,  not  only  during  the  time  when 
it  was  comparatively  new,  but  almost  during  the  whole  period  of 
sixty  years  and  more,  of  which  we  are  treating.  In  the  year 
1762  the  first  American  reprints  of  Gessner's  Death  of  Abel  ap- 
peared, and  from  that  period  till  1820  scarcely  a  decade  passes 
without  furnishing  us  with  a  number  of  reprints  of  this  work, 
which  enjoyed  the  greatest  popularity  both  in  England  and 
America.  I  have  enumerated  in  all  seventeen  reprints  of  the 
same,  without  claiming  to  have  stated  the  full  number  actually 
printed.* 

It  is  difficult  enough  for  us  to  appreciate  at  the  present  day 
Gessner's  Idylls^  which  at  one  time  formed  the  delight  of  the 
world  of  belles-lettres.  It  is  still  more  difficult  to  appreciate 
the  Death  of  Abel^  which  was  taken  quite  seriously  in  its  day. 
Every  page  breathes  sentiments  of  the  loftiest  virtue  with  a 
monotony  that  makes  the  work  unreadable  even  for  the  most 
patient  reader  of  modern  times.  In  spite  of  its  virtuous  tone 
the  work  aroused  some  opposition  in  England  on  account  of  its 
free  treatment  of  a  biblical  subject.  Whether  such  objection  was 
raised  against  it  in  America  I  have  not  been  able  to  ascertain.  Its 
great  popularity  makes  it  reasonably  certain  that  it  was  regarded 
as  a  work  of  highly  acceptable  nature.  I  have  found  traces  of 
the  fact  that  it  was  used  in  America  as  a  gift  book,  just  as  in 
England.  Gessner  was  an  especial  favorite  with  ladies,  so 
that  it  is  not  astonishing  to  find  that  "a  Lady"  wrote  a  work  in 
imitation  of  the  Death  of  Abel^  entitled  The  Death  of  Cain 
(London,  1790?).  This  product  of  an  imitator,  written  in  a 
turgid,  inflated  style,  as  if  intended  as  a  caricature  of  Gessner, 
found  its  way  to  America  and  was  several  times  reprinted  and 
sometimes  bound  in  with  the  Death  of  Abel. 

^  For  further  information  in  this  and  similar  cases  it  will  be  sufficient  to  refer 
here  to  the  appended  "List  of  Translations,"  with  an  index  containing  the 
reprints  arranged  under  the  head  of  authors,  and  with  date  stated. 


Frederick  H.   Wilkens.  9 

About  the  beg-inning  of  our  ceutury  (1802)  we  find  three  re- 
prints of  Gessner's  Idylls ;  in  two  cases  the  Idylls  are  preceded 
by  the  Death  of  Abel.  With  some  difficulty  it  is  possible  for 
the  modern  reader  to  appreciate  the  attitude  of  past  generations 
towards  these  much  admired  idylls.  Gessner  possessed  an 
artistic  perception  for  nature  that  would  make  him  particularly 
acceptable  to  the  English  public  ;  it  must  be  confessed,  how- 
ever, that  this  did  less  to  endear  him  to  the  English  (and  presum- 
ably American)  reader  than  his  "affecting  simplicity  and 
sentimentality." 

The  *'  divine  Gessner  "  proved  himself  an  inspiration  to  other 
sentimental  dabblers  in  literature  than  the  "  Lady  "  already  men- 
tioned. It  would  hardly  be  possible  to  find  a  style  that  is  more 
easily  imitated  than  Gessner's  sweetly  sentimental  effusions. 
We  often  find  palpable  imitations  of  Gessner's  style  among  the 
"  original "  efforts  of  American  writers  in  the  ephemeral  maga- 
zines of  our  period.  Selections  from  Gessner  himself  are  also 
quite  frequent. 

The  principal  literary  significance  of  the  Death  of  Abel  is 
probably  the  fact  that  it  popularized  Klopstock's  style  of  reli- 
gious poetry  among  English-speaking  peoples.  The  first  English 
translator  of  Klopstock's  Messias  expressed  this  in  a  form  that 
seems  somewhat  astonishing  to  us,  when  he  advertised  the 
Messiah  as  being  "in  the  manner  of  the  Death  of  Abel.''''  The 
Messiah  did  not  enjoy  equal  popularity  with  the  lighter  and 
shorter  Death  of  Abel.  Still  the  existence  of  three  early  Ameri- 
can editions  (1788,  1795,  181 1)  proves  that  there  was  a  constant 
demand  for  the  work  and  sets  us  thinking  what  class  of  readers 
were  in  the  habit  of  perusing  this  work,  which  has  always  been 
considered  a  trying  one  to  the  patience  of  the  average  mortal. 
The  explanation  lies  in  the  fact  that  the  people  of  the  last 
century  were  accustomed  to  a  much  heavier  style  of  religious 
and  contemplative  reading  than  at  the  present  day.  Schubart, 
the  German  poet,  found  the  common  people  far  more  suscepti- 
ble to  the  beauties  of  Klopstock  than  the  over-educated.  Let 
us  hope,  too,  that  many  American  readers  among  the  people 


lo  Early  Influence  of  German  Literature  in  America. 

derived  inspiration  from  the  poem,  which  could  not  easily  be 
the  case  with  the  more  cultured.  It  is  necessary  to  remember 
that  the  poetic  bloom  of  the  original  was  lost  in  the  indifferent 
prose  translation.  Nevertheless  a  Rev.  Solomon  Hailing,  of 
South  Carolina,  drew  his  inspiration  from  this  prose  version  when 
he  attempted  in  1810  the  first  book  of  the  Messiah  in  English 
blank  verse.     He  was  evidently  without  knowledge  of  German.^ 

The  "German  Drama"  in  America.^ 

Probably  no  development  in  the  realm  of  German  literature 
was  so  tangible  to  the  American  public,  and  so  forced  upon  its 
notice,  during  our  period,  as  the  "  German  Drama."  The  name 
conjures  up  in  our  mind  visions  of  the  master  works  of  Schiller, 
Goethe,  and  Lessing.  Not  so  to  the  American  lover  of  the 
drama  at  this  time.  Kotzebue  dominated  the  stage,  as  well  as 
the  minds  of  the  public,  and  Schiller  received  an  added  lustre, 
if  his  creations  (as  far  as  they  were  known  in  America  at  that 
time)  could  stand  comparison  with  the  "  German  Shakespeare."^ 
Kotzebue  is  a  fallen  idol.  So  great  is  the  difference  between 
the  popular  adoration  once  accorded  him  and  his  present  total 
neglect  that  few  care  whether  even  the  small  measure  of  justice 
that  is  his  due  is  meted  out  to  him.  Needless  to  say  that 
Kotzebue' s  world-wide  reputation  is  not  without  good  founda- 
tion. 

A  few  words  will  express  all  that  need  be  said  about  the 

'  Cf.  141.  A  reprint  of  the  Memoirs  of  Frederick  and  Margaret  Klopstock, 
Philadelphia,  etc.,  1810  (No.  140),  shows  that  there  was  a  certain  amount  of 
interest  in  Klopstock's  life  among  the  American  public.  With  the  Messiah 
editions  printed  in  New  Jersey,  New  York,  and  Massachusetts,  and  the  South 
also  heard  from,  we  recognize  that  Klopstock's  name  was  rather  well  known  in 
America.  We  find  him  referred  to  now  and  then  as  the  celebrated  Mr.  Klopstock. 

^  Numbers  used  without  further  specification  refer  to  the  appended  "  List  of 
Translations." 

'We  have  proof  of  the  general  interest  that  Kotzebue's  works  excited  in  the 
popularity  that  his  autobiographical  works  possessed.  The  American  maga- 
zines of  the  beginning  of  the  century  frequently  contain  biographical  notices  of 
Kotzebue,  which  is  a  very  rare  thing  in  regard  to  the  contemporary  authors 
writing  in  a  foreign  language. 


Frederick  H.  Wilkens.  1 1 

German  drama,  before  considering  the  prevalence  of  Kotzebue 
and  the  active  efforts  of  William  Diinlap  to  introduce  his  plays 
on  the  American  stage.  A  translation  of  Lessing's  Miss  Sara 
Sampson  appeared  in  1789  (or  1790?)  from  the  hands  of  David 
Rittenhouse,  a  Pennsylvanian,  celebrated  in  his  day  as  a  scien- 
tist.^ The  translator  says  of  it :  "This  translation  was  attempted 
at  the  request  of  a  friend ;  and  the  many  virtuous  sentiments 
and  excellent  lessons  of  morality  it  contains,  will  apologize  for 
its  being  offered  to  the  public.  To  young  ladies  it  may  afford 
useful  instruction,  and  it  will,  from  the  nature  of  the  distress, 
be  particularly  interesting  to  them."  It  is  of  interest  as  one  of 
the  earliest  translations  of  a  German  drama  into  English.  I 
cannot  find  any  record  that  the  piece  was  ever  performed  on 
the  stage.  Lessing's  Minna  von  Barnkelm^  however,  found  its 
way  from  England  to  the  American  stage  and  was  performed  at 
Charleston,  S.  C.  (1795),  and  Philadelphia  (1796)  under  the 
title  The  Disba7ided  Officer^  or  the  Baroness  of  Briichsal^  the 
title  given  it  by  the  English  adapter,  Johnstone.^  Schiller's 
Robbers  was  performed  at  New  York,  May  14,  1795,  "to  which 
the  company  was  pronounced  unequal."  ^  Reynold's  Werter 
and  Charlotte^  a  dramatization  of  Goethe's  Wcrther^  was  pro- 
duced at  New  York  and  Boston  in  1796  and  1797.* 

Among  the  early  friends,  in  America,  of  German  literature,  and 
the  German  drama  in  especial,  no  one  deserves  so  much  our  atten- 
tion as  the  man  of  whom  we  subjoin  a  short  biographical  notice. 

*  W.  Barton,  Memoirs  of  the  Life  of  David  Rittenhouse.  Philadelphia,  1813, 
p.  495.  It  is  to  be  presumed  that  Rittenhouse,  whose  ancestors  were  Dutch, 
learned  German  from  his  Pennsylvania  German  surroundings.  I  have  not  been 
able  to  trace  a  copy  of  Lucy  Sampson. 

'^G.  O.  Seilhamer,  History  of  the  American  Theatre,  1792-1797,  Philadelphia, 
1891,  pp.  207,  214,  217,  282,  283.  About  this  adaptation  cf.  G.  Herzfeld,  William 
Taylor  von  Norwich,  1897,  p.  8,  H.  W.  Singer,  Studien  zur  Litteraturgeschichte, 
M.  Bernays  gewidmet,  1893,  pp.  8-10. 
.  *  Seilhamer,  pp.  11 1,  116. 

*Seilhamer,  pp.  317,  324,358,  369,  383,  395.  The  production  of  the  Harle- 
quin Dr.  Fatistus,  Philadelphia,  June  3,  1796,  might  also  be  mentioned,  on 
account  of  the  interest  attaching  to  the  story  of  Dr.  Faustus.  Cf  Seilhamer, 
207,  214,  218. 


12  Early  Influence  of  German  Literature  iyi  A?nerica. 

William  Dunlap  was  born  at  Perth  Amboy,  N.  J.,  in  1766.  He 
went  to  Loudon  in  1784  where  he  remained  several  years,  study- 
ing painting  with  Benjamin  West.  He  was  connected  with 
the  management  of  the  old  John  Street  Theatre,  New  York,  in 
1796.  In  1798  he  assumed  the  management  of  the  Park  Street 
Theatre.  After  the  financial  failure  of  his  theatrical  venture  in 
1805  he  went  back  to  painting,  and,  among  other  occupations, 
served  for  a  time  as  assistant  paymaster  of  the  New  York  militia 
(1814-1816).  Dunlap  was  the  author  of  numerous  translations 
from  the  German  and  of  a  number  of  original  dramas,  and  his 
knowledge  of  the  stage  and  painting  enabled  him  to  become 
the  historian  of  the  American  theatre  and  of  American  art.  His 
life  was  an  unsettled  one  from  want  of  permanent  success  in  his 
various  ventures.  He  died  at  New  York  in  1839.  We  would 
perhaps  wrong  Dunlap  if  we  held  him  responsible  for  his  want 
of  success.  Dunlap  did  not  escape  the  lot  of  those  who  attempt 
to  cultivate  art  in  America  without  a  main  view  to  popular 
demands  and  the  business  aspects  of  the  situation.  His  name 
is  now  appropriately  honored  by  a  society  bearing  his  name, 
whose  aim  it  is  to  revive  a  knowledge  of  Dunlap  and  his  writ- 
ings, and  to  furnish  information  about  the  history  of  the  early 
American  theatre.^ 

When  Dunlap  entered  on  his  duties  as  manager  of  the  Park 
Street  Theatre  at  New  York  in  the  autumn  of  1798,  the  most 
profitable  part  of  the  season  (September)  was  lost,  the  theatre 
not  being  completed,  so  that  the  first  performance  could  not 
take  place  till  December  3.  Under  these  circumstances  Dunlap's 
venture  was  saved  by  bringing  out  Kotzebue's  Stranger 
[Menschenhass  tind  Reiie)^  which  had  already  gained  the  height 
of  popularity  in  England.  The  success  of  this  piece — "  un- 
doubtedly owing  to  the  merits  of  Kotzebue  " — alone  enabled 
him  to  keep  the  theatre  open.  It  was  an  adaptation  written  by 
Dunlap  on  the  basis  of  a  poor  translation   from  the  German, 

'The  publications  of  the  Dunlap  Society  are  not  as  frequently  found  in  public 
libraries  as  they  deserve.  Further  information  about  Dunlap  may  be  found  in 
his  writings  and  the  ordinary  means  of  biographical  and  literary  reference. 


Frederick  H.   Wilkens.  13 

and  was  played  for  the  tenth  time  on  the  eighth  of  March,  1799. 
This  was  a  long  run  at  that  period.^ 

The  success  of  the  piece  determined  Dunlap  to  study  German. 
The  study  of  that  language  is  surrounded,  at  the  present  time, 
by  a  prosaic  atmosphere  both  for  pupil  and  teacher.  Dunlap 
had  the  privilege  of  receiving  his  instruction  from  a  highly 
romantic  individual,  "a  victim  of  the  Inquisition,"  who  enter- 
tained him  with  a  narrative  of  his  life  quite  in  the  fashion  of 
the  Tales  of  Horror,  in  which  German  literature  held  the 
undoubted  supremacy  in  the  estimate  of  the  English  and 
American  reader.^  Dunlap's  unaffected  style  rises  to  serious- 
ness and  grandiloquence  as  he  dwells  on  the  tale  of  this  man,  a 
Swiss,  who  told  him  that  he  was  devoted  by  his  parents  to  the 
priesthood,  and  that,  while  serving  in  Spain  as  chaplain  to  a 
Swiss  regiment,  he  was  cast  into  the  prisons  of  the  Inquisition, 
kept  immured  for  two  years,  and  submitted  to  cruel  torture,  for 
attempting  to  escape  with  a  Spanish  lady,  of  whom  he  had 
become  enamored. 

When  speaking  of  the  fact  that  he  was  consecrated  to  the 
priesthood  before  he  was  born,  "his  eyes,  which  had  glared 
furiously  while  he  spoke,  became  dim — his  teeth  grated,  and 
then  became  fixed — his  hands  were  clenched — his  whole  frame 
convulsed — an  hysteric  laugh  relieved  him — tears  followed  " — 


'  Cf.  William  Dunlap,  History  of  the  American  Theatre,  London,  1833,  Vol. 
II,  p.  8r.  This  work  and  Ireland's  Records  of  the  New  York  Stage  have  fur- 
nished the  principal  information  about  Dunlap's  management  of  the  New  York 
Theatre.  It  was  also  possible  to  verify  these  dates  for  the  seasons  179S-1799, 
1799-1800,  1800-1801,  in  files  of  New  York  newspapers  of  the  time.  These  files 
were  in  general  fairly  complete,  but  January  and  February,  1801,  were  missing. 
The  number  of  performances  that  each  piece  went  through  are  given  in  the 
notes,  as  far  as  records  could  be  obtained.  If  we  consider  that  performances 
were  given  only  three  or  four  times  a  week,  we  can  estimate  the  great  popu- 
larity which  the  "  German  Drama "  enjoyed.  The  Strayiger  was  played 
December  10,  12,  17;  January  i  (1799),  16,  30,  February  6,  18,  March  2  ("for 
the  last  time  this  season  "),  March  9  ("by  particular  desire  "),  April  12  ("by 
particular  desire,  and  positively  for  the  last  time  this  season");  January  15 
(1800),  February  26  ;  June  12  (1801). 

^Dunlap,  Vol.  I,  pp.  391-401. 


14  Early  bifiuence  of  German  Literature  in  America. 

etc.  When  Dunlap  observed  his  morbid  sensibility  "  the  image 
of  that  power  \i.  e.  the  Inquisition]  which  had  broken  down 
such  a  frame  and  such  a  mind  immediately  presented  itself."  ^ 

Dunlap  gained  such  facility  in  reading  German  that  he  may 
be  regarded  as  a  very  satisfactory  translator  according  to  the 
standards  applicable  to  a  time  when  German  studies  were  in 
their  infancy. 

Dunlap  did  not  neglect  the  opportunity  for  further  theatrical 
successes  offered  by  the  popularity  of  Kotzebue's  pieces.  On 
March  ii,  1799,  his  version  of  Kotzebue's  Lovers  Vows  {Kind 
der  IJebe)  was  played  with  full  success.^  The  public  and 
performers  were  so  well  satisfied  with  this  translation  that, 
many  years  after,  it  was  frequently  played  in  preference  to  the 
London  copy.^ 

"  On  the  first  of  April,  the  play  of  Count  Benyowski  was 
brought  out  with  great  expense  and  care.  The  audience  was 
much  gratified,  and  expectation,  though  on  tip-top,  fully  satis- 
fied. The  costumes  of  Russia  and  Siberia  were  strictly  con- 
formed to,  and  the  snow  and  ice  scenes  of  Kamschatka  would 
have  been  invaluable  in  the  dog-days."  "The  play  was  well 
performed  for  a  first  representation.  It  is  necessary  to  say  that 
the  literal  translations  of  Count  Benyowski  can  give  no  idea  of 
the  drama  as  prepared  for  the  New  York  stage.  "^  It  was  played 
at  intervals  for  some  fifteen  years.^ 

Encouraged,  probably,  by  the  gratifying  success  experienced 
so  far  in  introducing  the  "  German  Drama  ",  Dunlap  ventured 
on  a  bold  undertaking.     "  The  next  play  of  note,  as  a  novelty. 


1  Dunlap,  Vol.  I,  pp.  393,  394. 

'  Dunlap,  II,  p.  95.  Dunlap  is  mistaken  when  he  states  that  his  version  of 
Lovers'  Vows  was  never  published.  It  was  published  in  1814  (No.  158). 
Lovers'  Vows  was  played  March  11,  18  (third  time),  21,  29,  April  8,  19,  May  27, 
November  22;   October  20  (1800). 

3J.  N.  Ireland,  Records  of  the  New  Vork  Sta^e,  New  York,  1866,  Vol.  I, 
p.  185. 

*  Dunlap,  II,  p.  96.  Count  Benyowski  was  played  April  i,  3,  5,  20;  January 
22  (1800),  February  8. 

*  Ireland,  I,  p.  185. 


Frederick  H.  Wilkens.  15 

was  Schiller's  Don  Carlos^  performed  on  the  sixth  of  May,  1799." 
Dunlap  was  compelled  to  curtail  the  piece  to  bring  it  within  the 
limits  permitted  to  a  play  on  the  American  stage,  and  it  was 
curtailed  still  more  during  the  performance.  "  It  was  unmerci- 
fully shorn  of  its  beams."  Although  the  attendance  was  satis- 
factory, to  judge  by  receipts  (676  dollars),  it  could  hardly  be 
expected  that  the  piece  would  appeal  to  the  existing  taste.  It 
was  not  repeated.  This  was,  according  to  Dunlap,  the  first 
performance  of  Schiller  on  the  American  stage.^  On  May  10 
a  second  piece  of  Schiller  was  performed  according  to  Ireland, 
namely,  Kabale  and  Liebe^  in  the  translation  of  M.  G.  Lewis 
entitled  The  Minister  -^  and  on  June  14,  according  to  the  same 
authority,  a  comedy  from  Kotzebue,  by  Dunlap,  called  The 
Indians  in  England^  or^  Nabob  of  Mysore  {Die  Indianer  in 
England)?  When  the  season  1798-99  came  to  a  close  Dunlap 
had  performed  on  his  stage  four  pieces  of  Kotzebue  and  two  of 
Schiller. 

During  the  summer,  while  the  theatre  was  closed,  Dunlap 
retired  to  Perth  Amboy  and  employed  his  time  in  translating 
Kotzebue's  False  Shame  and  turning  Kotzebue's  "  farce  "  Der 


>  Dunlap,  II,  p.  97.  To  give  an  idea  under  what  conditions  a  piece  like  Don 
Carlos  was  performed  in  an  American  theatre  of  the  time,  I  quote  part  of  an 
advertisement  from  the  Daily  Advertiser  of  that  date:  "  The  last  night  of  per- 
forming for  the  benefit  of  the  lessee  of  the  theatre.  A  celebrated  tragedy 
written  by  Frederick  Schiller,  author  of  the  Robbers,  etc. ,  called  Don  Carlos. 
Between  the  play  and  the  opera,  a  melodrama,  called  Ariadtie  abandoned  on 
the  Isle  of  Naxos.  To  which  will  be  added  the  very  popular  comic  opera  of  the 
Prize. ' ' 

Dunlap  was  not  quite  accurate  in  stating  that  this  was  the  first  performance 
of  Schiller  in  America.  We  have  noticed  an  earlier  performance  of  the  Robbers. 

'Ireland,  I,  p.  186.  After  the  Minister  was  to  be  given,  a  comedy  in  two  acts 
called  The  Deuce  is  in  Him.  Between  the  play  and  farce  was  to  be  spoken  a 
eulogy  on  General  Washington  (New  York  Daily  Advertiser).  The  Minisiet 
was  performed  May  10  (1799),  June  10  (  "  for  the  second  time  the  very  popular 
tragedy  called  I'he  Minister;'  etc.),  December  20.  These  three  performances 
prove  that  the  drama  enjoyed  a  certain  amount  of  popularity. 

s  Ireland,  I,  p.  187.  It  does  not  appear  by  what  authority  Ireland  attributes 
this  version  to  Dunlap.  Dunlap  {History  of  American  Theatre,  II,  p.  383) 
mentions  Indians  in  England  among  his  works  and  adaptations  for  the  stage. 


i6  Early  Infiuence  of  German  Literature  in  America. 

Wildfang  into  an  opera  which  he  called  the  Wildgoose  Chase} 
On  October  ii  Dunlaphad  the  gratification  of  receiving  a  letter 
from  Kotzebue,  "  in  which  he  [Kotzebue]  expresses  his  pleasure 
that  the  favourable  reception  of  his  muse  in  America  should 
be  owing  to  his  correspondent  [Dunlap]."  Kotzebue  offered 
to  sell  Dunlap  a  number  of  his  unpublished  pieces,  with  the 
same  right  as  that  given  to  Covent  Garden,  to  resell  to  the 
American  stages,  under  guarantee  that  the  pieces  should  not  be 
printed.  Dunlap  does  not  mention  his  entering  on  any  such 
arrangement ;  nor  does  it  seem  that  any  such  arrangement  was 
practical  for  America.^ 

On  November  29,  1799,  was  played,  for  the  first  time,  Kotze- 
bue's  Self-Immolation.,  or.,  Family  Distress  {Der  Opfertod).  It 
was  unsuccessful  and  is  not  even  mentioned  by  Dunlap.^  The 
comedy  of  False  Shame.,  however,  as  translated  and  adapted  by 
Dunlap,  "  was  performed  with  the  utmost  success  on  the  eleventh 
December,  1799."  "This  play,  without  scenery  or  decoration, 
by  plain  dialogue  and  natural  character,  supported  the  theatre 
this,  the  second,  season  of  the  author's  direction.  As  in  the 
case  of  The  Stranger.,  it  ran  through  the  whole  winter.  The 
Force  of  Calumny.,  Fraternal  Discord'^  (from  the  same  pen), 
and  other  pieces  did  their  part,  but  False  Shame  was  the  pillar 
on  which  all  rested."  Dunlap  thus  dwells  with  particular 
delight  on  the  success  of  this  comedy,  which  he  states  was 
excellently  acted  in  the  principal  parts.** 

'Dunlap,  II,  p.  118. 

^Dunlap,  II,  p.  119.  The  Commercial  Advertiser  of  November  21,  1799, 
contains  after  the  announcement  of  the  next  play  {Lovers^  Vows^  November  22) 
the  statement:  "  We  have  authority  to  say  that  those  manuscript  pieces  which 
by  contract  are  not  to  be  printed  for  many  years  yet  to  come,  will  be  forwarded 
to  the  director  of  the  New- York  Theatre  immediatel}'  from  their  illustrious 
author."  This  may  be  nothing  more  than  a  boast  made  for  the  sake  of  adver- 
tisement, based  on  Kotzebue's  proposal.  At  the  same  time  it  is  possible  that 
Dunlap  had  entered  upon  negotiations  with  him. 

'  Ireland,  I,  p.  190.     Played  November  29,  December  2. 

*  I  cannot  find  a  record  of  a  performance  of  this  piece  till  the  next  season. 

^Dunlap,  II,  pp.  121,  122.  The  original  MS.  (4°,  not  paged)  is  in  the  Harris 
Collection  of  American  Poetry,  Providence,  R.  I.  False  Shame  was  plaj'ed 
December  11,  13,  18;  January  6  (1800),  17,  February  3,  22,  April  25;  March  25 
(1801). 


Frederick  H.   Wilkens.  1 7 

'■'■  Der  U'ildfang^  as  translated  and  metamorphosed  into  an 
opera,  called  the  Wildgoose  Chase^  was  first  performed  on  the 
twenty-fourth  of  January  (1800),  and  continued  a  favorite  as 
long  as  Hodgkinson  continued  to  play  the  Young  Baron.  The 
Force  of  Calumny  had  likewise  been  successful  ;  ^  but  the 
secession  of  Mr.  Cooper  in  March  was  a  severe  blow  to  the 
theatre  and  its  receipts.  However,  Kotzebue,  with  the  man- 
ager's industry,  kept  up  the  business.  The  Virgin  of  the  Sun 
was  brought  out  at  great  expense,  with  splendid  scenery  and 
dresses,  and  was  attractive  through  the  season,^  Pizarro^  com- 
posed from  the  oiiginal  and  Sheridan's  alterations,  was  performed 
on  the  twenty-sixth  of  April ;  the  concluding  scene  by  Sheridan 
was  omitted,  and  the  sublime  last  lines  of  the  author  preferred.'* 
These  two  pieces,  with  all  their  faults,  have  great  merit,  and 
deserved  the  thanks  of  the  '  manager  in  distress.'  "^ 

Ireland  records  further  performances  of  Kotzebue's  plays. 
The  Cotmt  of  Burgundy  was  brought  out  on  March  3.®  On 
April  21  was  played  for  the  first  time  Kotzebue's  Corsicans^  or^ 
the  Dawnings  of  Love  j'  on  May  5,  Dibdin's  farce  from  Kotzebue, 
The  Horse  and  the  Widow^  {Die  Wittwe  und  das  Reitpferd)^  and 


*  Published  New  York,  i8or  (No.  67).  The  Wildgoose  Chase  was  performed 
January  24  (1800),  27,  29,  February  19,  April  10,  December  19,  22. 

2  The  Force  of  Calumny  was  performed  February  5  (1800),  7,  10,  March  7. 

3The  version  "probably  by  Dunlap  "  (Ireland,  I,  p.  192).  Dunlap's  version 
was  published  New  York,  1801  (No.  64).  The  Virgin  0/  the  Sun  was  played 
March  12  (1800),  14,  17,  19,  22,  November  21,  December  10;  March  30  (1801). 

♦Published  May  23,  1800  {Daily  Advertiser  of  date).  (No.  59.)  Pizarro 
was  performed  March  26  (1800),  27,  28,  31,  April  2,  4,  10,  23,  May  16,  December 
12,  15,  26;  March  18  (1801).  The  performance  of  March  26,  1800,  is  advertised 
as  vSheridan's  adaptation.  For  April  23  Dunlap's  adaptation  was  advertised, 
May  16,  Sheridan's  again,  so  that  Dunlap  seems  to  have  used  his  own  version 
only  as  an  experiment. 

'  Dunlap,  II,  p.  123. 

®  Ireland,  I,  p.  191  It  was  repeated  March  5.  Ireland  states  that  the  adapta- 
tion was  by  Dunlap  and  was  less  successful  than  most  of  his  adaptations.  Dun. 
lap  does  not  mention  it  among  his  works  {History  of  American   Theatre,  II> 

P-  383)- 
'  Ireland,  I,  p.  192.     I  cannot  find  any  record  that  the  piece  was  repeated. 

*  Ireland,  I,  p.  193.     I  do  not  find  any  record  of  a  second  performance. 


i8  Early  Influence  of  Germa7i  Literature  in  America. 

on  April  23,  a  sequel  to  the  Stranger  called  The  Stranger'' s 
Birthday} 

Ireland  does  not  even  exhaust  the  list  of  German  plays  given 
during  this  season.  By  reference  to  the  newspapers  of  the  day 
we  find  announcements  of  the  following  performances  :  April 
16,  Sighs ^  or^  the  Daughter  (Prince  Hoare's  adaptation  of 
Kotzebue's  yj?rw////>  tind  Edelsinn)\  May  28,  Kotzebue's /(9«;;z?m 
of  Montfaucon  (adapted  by  Cumberland)-;  June  6  (?),  Kotzebue's 
Happy  Fa7nily^  {Die  Silberne  Hochzeit\  and  most  interesting  of 
all,  April  7,  "  the  favorite  tragedy  of  the  Robbers}''^ 

We  find  on  reviewing  this  year  that  Dunlap  presented  fourteen 
pieces  from  Kotzebue  that  were  new  to  his  New  York  audience. 
Indeed  a  most  remarkable  testimony  to  his  enterprise  as  theatri- 
cal manager. 

Dunlap  sums  up  the  significance  of  the  "  German  Drama  " 
for  his  theatre  in  the  words :  "  The  necessity  for  producing 
these  attractive  novelties  (Kotzebue's  plays)  rendered  Hamlet 
and  Macbeth^  and  all  the  glories  of  the  drama  for  the  time  a 
dead  letter."'' 

While  Dunlap's  enterprise  appeared  to  the  outsider  to  be 
prosperous  there  was  much  discord  and  discontent  within. 
"  Even  those  plays  which  attracted  the  public,  and  gave  bread 
to  some  and  the  means  of  destructive  indulgence  to  others, 
were  stigmatized  by  the  actors  as  Dutch  Stuffs  and  by  other 
epithets  equally  characteristic.  But  why  dwell  on  evils  of  this 
disgusting  kind?"     Dunlap  adds  :  "  Can  they  be  removed  ?"  ^ 

"  The  new  season  opened  on  October  20,  1800,  with  Lovers' 

*  Ireland,  I,  p.  192.  According  to  Ireland  this  was  an  original  sketch  by 
Dunlap.  In  the  newspaper  announcements  it  is  mentioned  as  a  translation  of 
Kotzebue's  Die  edle  Lilge. 

2  Ireland  notes  a  performance  for  January  23,  1801.  Dunlap  (II,  p.  140) 
mentions  the  piece  under  the  season  1800-01.  It  was  "without  success  com- 
pared to  former  plays  by  this  author. " 

'  Dunlap  (II,  p.  136)  mentions  this  piece  under  the  season  1800-01.  It  "  was 
played  unsuccessfully." 

*  The  Robbers  is  announced  again  for  June  3,  1801. 

*  Dunlap,  II,  p.  124. 
« Dunlap,  II,  p.  125. 


Frederick  H.  Wilkens.  19 

Vowsy  "The  first  play  the  manager  [Dimlap]  produced  this  sea- 
son was  perhaps  the  most  meritorious  of  the  many  translations 
and  alterations  which  came  from  his  pen.  Fraternal  Discord^ 
altered  and  adapted  from  Kotzebue's  Briiders  Zwist  {Die  Ver- 
s'dhmmg  oder  der  Bruder2wist\  was  made  more  English,  par- 
ticularly in  the  pro7ninent  characters  of  Captain  Bertram  and 
his  old  brother — sailor  and  boatswain — than  any  of  the  previous 
pieces  from  the  same  source.  The  two  parts  were  most  admir- 
ably played,  and  nothing  was  ever  finer  of  the  kind  than  Jeffer- 
son's sailor,  except  the  gouty  captain  of  Hodgkinson.  The 
merits  of  this  piece  have  been  so  far  acknowledged  by  English 
managers  and  actors,  and  even  by  American  audiences,  as  to 
obtain  a  preference  over  the  foreign  version  from  the  same 
source."^ 

On  March  9  Dunlap's  version  of  the  Abbe  de  PFpee  (by 
Bouilly )  was  played  for  the  first  time  and  was  eminently  successful.^ 
Possibly  Dunlap  used  Kotzebue's  adaptation  of  the  French 
piece. 

"The  manager  [Dunlap]  had,  in  the  midst  of  annoyance 
from  sources  as  adverse  to  literary  exertion  as  can  well  be  im- 
agined, translated  and  adapted  to  the  American  stage  the  play 
of  Abdlino^  the  Great  BanditV  Dunlap  did  not  know  at  the 
time  who  was  the  author.  "  The  success  of  the  piece  was  great, 
both  in  New  York  and  elsewhere.  It  was  performed  for  the 
first  time  in  the  English  language,  the  eleventh  of  February, 
1801."^  "  Zschokke's  Abdlino  has  been  translated  into  most  of 
the  languages  of  Europe,  and  brought  forward  on  most  of  the 
European  stages  under  various  disguises.  It  was  first  played  in 
a  language  foreign  to  its  author,  in  New  York,  and  only  played 


*  Dunlap,  II,  pp.  134,  135.  Fraternal  Discord  -wdLS  published  New  York,  1809 
(No.  132).  I  have  noted  performances  on  October  24  (1800),  27,  December  19, 
29;  March  2  (1801).     The  foreign  version  is  Dibdifi's  Birthday,  London,  1800. 

*  Dunlap,  II,  p.  146.  I  find  performances  announced  for  March  9  (iSoi),  13, 
16,  20,  April  6. 

'  Dunlap,  II,  p.  142.  Printed  at  least  four  times.  (No.  96,  170.)  Performances 
took  place  February  11,  March  2  (sixth  time),  11,  April  10,  June  5. 


20  Early  Influence  of  German  Literature  in  America. 

in  America  by  its  original  title.^  Never  was  a  play  more  suc- 
cessful, or  a  successful  play  less  productive  to  its  author  or 
translator.     It  was  overwhelmed  with  snow."^ 

The  next  season  (i 801-1802)  we  find  Dunlap  again  busy 
translating  from  the  German,  but  his  efforts  are  not  so  success- 
ful as  in  the  preceding  years.  "  On  the  fourth  of  December,  1801, 
a  farce  called  Where  is  He?  by  the  manager  [Dunlap],  from 
the  German,  was  played  with  success.  The  Force  of  Cahunny 
was  successful  this  season,  but  in  the  commencement  the  busi- 
ness was  a  losing  one."^  "  On  the  twenty-sixth  of  March,  1802, 
Schiller's  Fiesco^  curtailed,  was  performed  (Cooper  playing 
Fiesco) :  it  was  coldly  received."*  It  may  be  recalled  in  this 
connection  that  Fiesco  was  not  properly  appreciated  by  the 
German  audience  when  first  presented.  The  newspapers 
announce  a  performance  of  the  Wise  Man  of  the  East  (Mrs. 
Inchbald's  adaptation  of  Kotzebue's  Indianer  in  England^  for 
June  I  (1801). 

For  the  following  season  (i  802-1 803)  Dunlap  made  only  three 
translations.  "  The  manager  [Dunlap]  had  translated  from  the 
German  and  brought  out,  on  the  fifteenth  of  November  (1802) 
a  play  called  Peter  the  Great.  Mr.  Cooper,  Mr.  Hodgkinson, 
and  Mrs.  Whitlock  were  the  principal  performers,  but  the  piece 
did  not  live."''  Ireland  further  records"  a  performance,  on 
February  28,  1803,  of  a  farce.  The  Good  Neighbor  (an  adaptation 
from  Iffland),  which  was  favorably  received,  and  Dunlap  men- 
tions^ a  performance,  on  March  30,  of  The  Blind  Boy^  altered 
from  Kotzebue's  EpigraDim^  which  was  produced  with  small 


^M.  G.  Lewis  {Rugantino,  reprinted,  New  York,  18 to  [No.  146])  and  R.  W. 
Elliston  {Abellino,  reprinted,  New  York,  1806  [No.  113])  furnished  adapta- 
tions for  the  English  stage  in  1805.  We  see  that  Dunlap  commits  a  slight  error 
in  stating  that  his  version  alone  went  by  the  original  title. 

2  Dunlap,  II,  p.  143. 

3  Dunlap,  II,  p.  160. 

*  Dunlap,  II,  p.  i6r. 

*  Dunlap,  II,  p.  165.     Printed,  New  York,  1814.     (No.  160.) 
« Ireland,  I,  p.  212.    Printed,  New  York.  1814.     (No.  156.) 

'  Dunlap,  II,  p.  191. 


Frederick  H.   Wilkens.  21 

success  ("  Parts  much  applauded  ;  it  was  never  popular").  This 
is,  apparently,  the  last  piece  translated  from  the  German  by 
Dunlap  for  the  purposes  of  his  theatre.  Dunlap  struggled  on 
for  some  time  longer,  but  on  January  22,  1805,  the  theatre  was 
finally  closed. 

We  have  spoken  at  some  length  of  Dunlap's  theatrical  enter- 
prises, and  told  the  story  as  much  as  possible  in  his  own  words.^ 
We  feel  the  evident  pleasure  with  which,  after  a  varied  career, 
Dunlap  looks  back,  as  an  aged  man,  on  the  period  when  the 
successful  novelties  of  the  ' '  German  Drama  "  made  his  manage- 
ment, for  a  time  at  least,  a  success.     Although  he  dwells  with 
satisfaction  on  his  somewhat  subordinate  activity  as  translator 
and  adapter  of  plays,  he  shows  the  greatest  fairness  towards  the 
author  who  provided  him  with  the  most  copious  materials  for 
his  enterprise.     Speaking  of  the  disparagement  that  the  German 
drama  suffered  in  England,  Dunlap  says  that  he  appreciated  the 
old  English  drama  more,  but  would  not  depreciate  the  Germans 
to  the  level  of  the  modern  drama  manufacturers  of  England. 
"  As  my  admiration  of  the  German  dramatists  was  not  founded 
on  the  praise  of  English  writers,  so  my  opinion  has  not  been 
shaken  by  their  censures."^  He  accuses  the  English  playwrights 
of  writing  down  the  German  plays  when  they  became  the  rage 
in   England,  and  at  the  same  time  stealing  from    them    "as 
unconscionably  as  they  berated  them  unmercifully."     There  is 
much  truth  in  this  accusation.      About  the  author  whose  works 
w^ere  the  mainstay  of  the  "  German  Drama,"  Dunlap  expresses 
the  following  opinion  :  "  Kotzebue's  great  talent  was  facility  of 
invention ;    his    incidents    are    admirable  ;    his    delineation    of 
character  is  often  fine  ;    but  many  of  his  characters  partake  of 
the  age  in  which  he  lived,  and  of  his  own  false  philosophy  and 


•The  information  furnished  by  Dniilap  seems  to  be  in  general  exact.  He  kept 
a  diary  (several  of  these  are  in  the  library  of  the  New  York  Historical  Society) 
and  presumably  used  it  for  writing  his  History  of  the  American  Theatre.  In 
minor  matters  there  may  be  mistakes,  or  there  may  l)e  some  obliquity  of  vision 
here  and  there,  a  thing  which  is  almost  unavoidable  in  memoirs. 

» Dunlap,  Memoirs  of  G.  F.  Cooke,  London,  1813,  Vol.  I,  p.  230. 


22  Early  Influence  of  German  Literature  in  America. 

false  estimate  of  the   foundation   on   which    society  ought    to 

rest.'" 

This  judgment,  though  apparently  tempered  by  a  long  lapse 
of  years,  would  probably  receive  further  modification  at  the 
hands  of  the  most  lenient  modern  critic.  Nobody  concedes 
Kotzebue  at  the  present  day  any  ability  in  character  delineation. 
It  would  be  difficult  to  find  in  the  world's  history  another  author 
so  specious  and  at  the  same  time  so  entirely  devoid  of  sterling 
worth.  Kotzebue's  creations  reveal  the  base  metal  to  even  the 
slightest  scratch,  all  his  excellence  is  merely  superficial.  But 
superficial  excellence  (if  the  phrase  be  permissible)  Kotzebue 
possesses  in  the  highest  degree.  The  conversation  in  his  plays 
is  that  of  living  persons,  handled  with  equal  skill  whether  two 
or  more  characters  are  introduced.  It  is  clear  that  when  his 
plays  were  impersonated  on  the  stage  by  actors,  persons  of  flesh 
and  blood,  an  effect  must  have  been  produced,  on  half-cultivated 
minds,  of  highest  truth  to  life.  We  should  finally  add  Kotze- 
bue's  unscrupulous  use  of  all  the  sentimental  and  humanitarian 
foibles  of  the  age,  although  he  was  by  nature  entirely  incapable 
of  handling  ethical  questions.  It  has  been  the  experience  of  all 
times  that  the  great  mass  of  the  reading  public  and  of  the 
theatre-goers  is  satisfied  with  dummies  reiterating  the  fashion- 
able or  popular  sentiments  of  the  hour.  As  long  as  Kotzebue's 
sentimentality  and  sham  heroism  appealed  to  the  public,  or  part 
of  the  public,  his  pieces  held  their  own.  As  soon  as  public 
taste  changed  in  these  matters  they  fell  into  oblivion,  and  now 
only  the  student  of  literature  has  occasion  to  pass  over  the  waste 
grounds  of  what  was  once  a  flourishing  literary  reputation.  It 
should  be  added,  however,  in  justice  to  Kotzebue,  that  in  the 
field  of  low  comedy  the  brilliancy  and  spontaneity  of  his  wit, 
though  always  inclined  to  the  cynical  or  heartless,  have  kept  him 
a  place  on  the  stage  during  our  century,  at  least  in  Germany. 

It  is  interesting  to  note  how  Dunlap's  endeavor  to  make  the 
stage  an  instrument  of  higher  moral  and  artistic  culture  failed 

*  Dunlap,  II,  p.  90. 


Frederick  H.   Wilkens.  23 

in  the  face  of  the  same  abuses  that  lower  the  drama  at  the 
present  day  and  cripple  its  possible  influence  for  good.  The 
intense  objection  that  the  stage  encountered  from  many  on 
moral  and  religious  grounds  and  the  attempts  at  legislative  pro- 
hibition of  theatrical  performances  did  not,  it  appears,  deter  society 
from  patronizing  the  theatre.  The  theatre  certainly  enjoyed  a 
proportionately  greater  popularity  than  it  did  during  many 
parts  of  our  century.  But  the  tendency  toward  the  "star" 
system  and  the  temptation  to  consider  the  play  merely  as  a 
vehicle  for  an  actor's  skill,  the  necessity,  on  part  of  the  manager, 
of  conforming  to,  instead  of  forming,  the  public  taste,  so  as  to 
insure  the  necessary  financial  success — commercialism  is  an  apt 
name  for  this  evil  in  the  domain  of  art, — all  these  abuses 
Dunlap  felt  as  a  heavy  handicap  or  a  positive  hindrance.  It  is 
not  possible  to  enter  into  the  consideration  of  these  interesting 
problems,  which  from  the  conservative  character  of  American 
institutions  and,  consequently,  American  life  remain  very  much 
the  same  at  the  present  day.  It  was  necessary,  however,  to  call 
attention  to  them  so  as  to  obtain  a  background  for  an  estimate 
of  the  significance  of  the  "  German  Drama  "  in  America.  It 
will  be  apparent  from  these  remarks  why  Kotzebue's  plays 
enjoyed  such  a  great  vogue.  Besides  exploiting  certain  senti- 
mental fallacies  of  the  day  they  possess  excellent  qualities  as 
acting  plays.  Dunlap  thought  that  his  endeavors  as  a  theat- 
rical manager  would  have  been  crowned  with  better  success,  if 
he  had  been  able  to  conduct  his  theatre  on  the  plan  of  the 
model  theatres  of  France  and  Germany,  without  all  the  petty 
annoyances  already  enumerated.  He  casts  a  longing  eye  on 
Goethe  and  Ifiiand  in  their  capacity  as  managers  of  an  ideal 
stage.  While  it  is  not  possible  to  tell  how  far  some  of  the 
knowledge  of  the  German  stage  that  Dunlap  reveals  in  his 
History  of  the  American  Theatre  may  have  been  acquired  at  a 
later  time,  there  can  hardly  be  any  doubt  that  during  the  period 
of  his  active  management  he  was  well  informed  about  the  con- 
dition of  the  German  stage. 

While  the  vogue  and  world-wide  reputation  of  Kotzebue  is  a 


24  Early  Influence  of  Germa^i  Literature  in  America. 

literary  fact  of  some  significance,  the  single  works  of  Kotzebiie 
are  so  lacking  in  artistic  individuality  as  to  deserve  no  minute 
examination.  For  the  same  reason  the  single  translations  of 
Dunlap  do  not  call  for  a  detailed  examination,  even  if  the 
scattered  materials  were  readily  accessible  for  this  purpose. 
Dunlap  shows  himself,  in  the  number  of  his  pieces  that  I  have 
examined,  as  a  conscientious  translator.  He  follows  his  original 
closely  but  with  due  attention  to  English  idiom.  Where  the 
difference  between  American  and  foreign  customs  is  too  marked, 
or  where  passages  seemed  objectionable,  he  permitted  himself 
slight  changes.  For  presentation  on  the  stage  the  pieces  had 
to  be  shortened  ;  these  omissions  were  indicated  in  the  printed 
text.  Dunlap's  knowledge  of  German  was  very  good  for  a  time 
when  even  a  smattering  of  the  language  was  rare.  His  style  is 
simple  and  unaffected,  giving  him  a  decided  advantage  over  many 
of  his  English  rivals,  who  embalmed  Kotzebue's  easy  conver- 
sational style  in  the  somewhat  elaborate  and  artificial  English 
prose  style  of  the  eighteenth  century.  We  must  keep  in  mind 
that  Dunlap  attempted  original  dramatic  writing,  and  while  his 
efforts,  like  almost  all  that  was  written  for  the  American  stage, 
are  lacking  in  permanent  value,  they  take  respectable  rank 
among  the  early  productions  of  American  literature.  Genest, 
the  historian  of  the  English  stage,  gives  the  preference,  in  most 
cases,  to  the  English  versions,  which  had  been  adapted  with 
more  freedom,  but  he  also  has  words  of  praise,  at  times,  for 
Dunlap.  One  important  diflference  between  Dunlap  and  his 
English  competitors  was  this:  Dunlap  possessed  a  knowledge 
of  German  that  was  rare  among  practical  playwrights.  He 
treated  the  intentions  of  his  author  with  due  respect,  while 
the  English  purveyors  of  dramatic  literature  tailored  Kotze- 
bue's pieces  unscrupulously  and  to  their  hearts'  content, 
trimmed  them  and  changed  them  to  suit  their  conventional 
ideas  of  what  a  drama  should  be.^     Since   Kotzebue's  plays. 


•John  Howard  Payne's  version  oi^  Lovers*  Vows  affords  a  curious  specimen  ot 
adapting.  (Cf.  No.  133,  where  Payne's  own  explanations  are  quoted. )  During 
his  stay  in  England  (1813-1832)  he  made  numerous  adaptations  of  dramatic 


Frederick  H.   Wilkens.  25 

whatever  else  their  merits  be,  are  loosely  constructed  it  was 
easy  for  every  bungler  to  try  his  hand  at  improving  them. 

Dunlap  had  a  rival  who  attempted  to  compete  with  him  in 
introducing  Kotzebue  to  American  readers.  This  rival  was 
Charles  Smith/  a  bookseller  of  New  York,  whose  ambition 
was  directed  toward  translating  all  of  the  works  of  Kotzebue. 
Be  it  that  adverse  criticism  discouraged  him,^  or  be  it  that  the 
magnitude  of  the  task  broke  down  his  resolution,  it  seems  that 
Smith  did  not  translate  more  than  three  pieces  of  Kotzebue 
(Nos.  50,  58,  68  [1800]),  and  then  drifted  the  way  of  the  ordi- 
nary American  publisher,  appropriating  the  fruits  of  another's 
labor  by  the  easy  process  of  reprinting  English  translations. 
His  reprints  (1800,  1801)  fill  two  volumes  and  part  of  a  third, 
(cf.  No.  51)  and  represent  probably  the  largest  number  of  trans- 
lations from  the  German  printed  by  an  American  bookseller 
during  the  early  period.  Smith's  original  translations  would 
hardly  deserve  mention,  but  for  the  fact  that  he  comes  in  for 
the  indulgence  which,  by  a  general  courtesy,  is  extended  to 
pioneers  of  a  new  movement.  His  translations  are  veritable 
transliterations  of  the  original,  and  one  does  not  know  how 
much  of  this  should  be  attributed  to  want  of  skill  in  handling 


literature,  principally  from  the  French.  Some  of  these  adaptations  may  go 
back  to  the  German,  but  they  do  not  necessarily  fall  within  the  province  of  our 
article,  as  they  were  made  for  the  English  stage.  The  Congressional  Library 
has  a  manuscript  translation  of  Schiller's  Kabale  imd  Liebe,  dated  1848,  ascribed 
to  Payne.  If  it  is  genuine,  it  would  be  proof  of  German  studies  of  the  American 
author. 

Dunlap,  to  mention  it  here,  did  not  hesitate  to  give  his  opinion  about  the 
character  of  the  English  adaptations.  He  says.  Memoirs  of  G.  F.  Cooke, 
London,  1813  :  "  It  became  the  interest  of  certain  English  writers  to  put  it  [the 
brilliant  German  drama]  down.  The  English  translators  succeeded  in  darken- 
ing its  brightness  by  a  most  thick,  sometimes  impenetrable,  fogginess." 

1  Some  information  about  Smith  may  be  found  in  Appleton's  Cyclopedia  oj 
American  Biography  and  in  an  article  by  Dr.  Erancis,  International  Magazine, 
New  York,  Vol.  V  (1852),  p.  261.   "  I  believe  he  was  a  New  Yorker"  (Francis). 

'Smith's  translations  from  Kotzebue  were  severely  criticised  in  C.  B.  Brown's 
Monthly  Magazine  and  American  Review  for  the  Year  iSoo,  New  York,  Vol. 
II,  p.  133  ff.  {The  Count  0/  Burgundy),  p.  225  {The  Wild  Youth).  The  third 
drama  translated  by  Smith  was  La  Peyrouse. 


26  Early  bifiuence  of  German  Literature  in  America. 

the  English  language  and  how  much  to  his  desire  to  be  abso- 
hitely  faithful  to  his  original.  Smith  shows  himself  often  at 
war  with  the  rules  of  English  grammar.  If  he  was  not  of 
German  extraction  but  had  acquired  German  by  study  later  in 
life,  his  knowledge  of  German  deserves  more  credit  than  his 
ability  to  express  himself  in  English. 

It  is  stated  on  good  authority  that  the  Rev.  Will  lived  about 
this  time  (1799)  in  New  York  and  enriched  American  literature 
by  translations  from  the  German.^  It  has  not  been  possible  to 
verify  this  statement  and  to  determine  the  extent  of  his  activity 
in  New  York. 

We  have  given  Dunlap  a  lengthy  consideration  on  account  of 
his  individual  efforts  in  introducing  the  German  drama  into 
America.  His  merits  in  this  direction  will  become  apparent,  if 
we  pass  once  more  in  review  his  activity  and  compare  the  number 
of  German  plays  acted  under  his  management  with  those  played 
in  London  theatres.  A  number  of  these  pieces  were  not  produced 

^  Dr.  J.  W.  Francis  (1789-1861),  who  was  an  oracle  on  all  questions  pertaining 
to  old  New  York,  makes  this  statement  in  his  reminiscences  {Internatio7tal 
Magazine,  New  York,  Vol.  V,  1852,  p.  261;  Old  Nezv  York,  New  York,  1S58, 
p.  46).  Dr.  Francis,  who  was  of  German  extraction,  during  his  youth  attended 
Rev.  Kunze's  German  Lutheran  Church,  and  was  therefore  acquainted  with 
German  circles.  Although  many  of  the  details  furnished  by  him  in  regard  to 
early  translators  from  the  German  are  inexact,  as  he  depended  apparently  on 
his  memory,  it  is  more  difficult  to  believe  that  he  would  record  a  person  as  re- 
siding in  New  York,  when  there  was  no  foundation  for  it.  Old  New  York, 
p.  46,  he  mentions  him  as  having  furnished  translations  from  the  German  for 
the  John  Street  Theatre  (evidently  an  error)  and  adds:  "This  accomplished 
man,  after  but  a  short  stay  in  New  York,  returned  to  Europe,  where,  in  1799,  he 
published  in  London,  in  two  volumes  octavo,  a  translation  of  Knigge's  Practi- 
cal Philosophy  of  Social  Life. ''  If  these  dates  be  correct,  Francis  could  hardly 
have  a  reliable  personal  recollection  about  Will.  The  directories  of  New  York 
of  about  that  time  contain  no  reference  to  the  Rev.  Will,  but  show  other  per- 
sons of  the  same  name,  possibly  relatives.  A  Henry  Will  was  treasurer  of  the 
Reformed  Church  and  of  the  Musical  Society.  The  Rev.  Peter  Will  published 
in  England,  between  1795  and  1799,  a  number  of  translations,  designating  him- 
self as  minister  of  the  Reformed  Congregation  in  the  Savoy.  I  cannot  trace  him 
afterwards  in  England  for  a  long  time,  so  that  it  is  possible  that  he  emigrated 
to  America.  Francis  assigns  to  him  the  translation  of  the  Constant  Lovers, 
New  York,  1799  (No.  42),  Boston,  1799  (No.  41),  New  York,  1801  (No.  73). 


Frederick  H.   Wilkens.  27 

on  the  London  stage,  at  least  not  contemporaneously,  according 
to  the  authorities  accessible  to  me.  Such  plays  are  :  Schiller's 
Don  Carlos^  Fiesco,  Kotzebue's  Cot^nt  Benyowsky,  False 
Shame^  The  Force  of  Calumny^  The  Stranger'^s  Birthday^ 
The  Virgin  of  the  Sun^  The  Birthday  {Epigrainm\  The  Good 
Neighbor  (from  Iffland),  Peter  the  Great  and  WJiere  is  He  ? 
The  performance  of  Dunlap's  Wildgoose  Chase  {Wildfang) 
preceded  Dibdin's  Of  Age  To-morrow^  the  performance  of  Dun- 
lap's  Indiajis  in  England  preceded  Mrs.  Inchbald's  Wise 
Man  of  the  East^  as  did  his  Abaellino  the  English  adaptations. 
In  many  cases,  too,  it  would  happen  that  Dunlap  followed 
with  his  adaptation  a  half  a  year  or  a  year  in  the  wake  of  the 
London  performance,  as  in  the  case  of  the  Stranger^  Lovers' 
FowSy  Fraternal  Discord,  and  Pizarro.  Besides  adaptations 
from  other  hands,  like  Kotzebue's  Self  Immolation,  The  Count 
of  Burgundy,  Sighs  {Armut  und  Edelsinn),  The  Horse  and  the 
Widow,  foanna  of  Montfaucon,  The  Wise  Man  of  the  East,  and 
Schiller's  Minister  {Kabale  U7id  Liebe),  that  were  performed  on 
the  London  stage,  there  were  others  of  which  a  London  per- 
formance is  not  recorded,  such  as.  The  Corsicans,  The  Happy 
Family.  These  pieces,  principally  from  the  versatile  pen  of 
Kotzebue,  covering  the  entire  range  of  dramatic  writing,  would 
have  been  indeed  a  splendid  school  of  the  drama  if  Kotzebue's 
work  possessed  more  solid  worth.  This  is  not  the  proper  place 
to  enter  upon  an  account  of  the  character  of  these  various 
dramas.^  Nor  is  it  necessary  to  enumerate  here  the  many  re- 
prints of  Kotzebue's  pieces.  A  look  at  the  index  and  the  "  list 
of  translations  "  will  suffice  to  establish  the  fact  that  Kotzebue 
outrivaled  in  popularity  all  other  German  authors.  His  popu- 
larity is  indeed  a  remarkable  phenomenon  in  the  chronicles  of 
literature.  The  predominance  of  the  German  drama  existed  at 
other  American  theatres  as  well  as  at  New  York,  but  with  this 
difference,  that  while   Dunlap  endeavored  to   furnish  his  own 


'  Cf.  about  Kotzebue  and  his  work  the  biography  of  C.  Rabany,  Kotzebue,  Sa 
Vie,  etc.,  Paris,  1893,  and  the  literature  referred  to  in  Goedeke's  Grundriss. 


28  Early  Influence  of  German  Literature  in  America. 

adaptations,  the  other  theatres  were  more  often  content  to  use 
the  versions  of  the  English  adapters/  Dunlap  justly  complains 
of  the  indiscriminate  preference  whicn  American  audiences 
showed  for  everything  that  had  passed  the  tribunal  of  English 
opinion.  With  all  this  prejudice  to  combat,  some  of  Dunlap's 
adaptations  held  the  stage  for  a  longer  or  a  shorter  time.  They 
were  successfully  introduced  on  the  Boston  stage  and  were 
pla)-ed  there  for  several  years.^  Lovers'  Vows  and  Frater^tal  Dis- 
cord^ as  already  mentioned,  were  frequently  given  the  preference 
over  the  English  versions.  Ireland  records  a  special  revival  of 
Dunlap's  adaptations  during  the  seasons  1814-1817.^  His 
Abaellino  gained  an  enormous  popularity  and  was  played  in  all 
the  American  theatres.  When  later  Lewis'  translation  of  the 
prose  romance  Abaellino  was  published  under  the  title  of  the 
Bravo  of  Vettice.,  it  was  reprinted  in  America  with  the  first  title 
Abaellmo^  under  which  name  Dunlap  had  made  the  story 
popular. 

A  number  of  Kotzebue's  pieces,  like  Pizarro.,  The  Stranger^ 
Lovers^  Vows.,  kept  the  stage  during  the  whole  of  our  period. 
Indeed  Pizarro  and  the  Stranger  did  not  pass  from  the  boards 
until  comparatively  recent  times.^  It  would  be  easy  to  fill  pages 
with  an  account  of  the  favorite  actors  and  actresses  who  appeared 
in  the  part  of  Rolla  {Pzsarro).,  Frederick  {Lovers'*  Vows),  and 
Mrs.  Haller  ( T/ie  Stranger).  As  long  as  the  Stranger  kept  the 
stage  the  discussion  of  the  morality  of  the  piece  follows  it  like  a 

'  Besides  those  already  mentioned  I  have  used  as  authorities  the  following 
•works:  C.  Blake,  An  Historical  Accou7it  of  the  Providence  Stage,  Providence, 
1S68;  W.  W.  Clapp,  History  oj  the  Boston  Stage,  1853;  H.  P.  Phelps,  Players  Of 
a  Century,  a  Record  0/  the  Alba?iy  Stage,  2  ed.,  Albany,  1880;  W.  B.  Wood, 
Perso7ial  Recollections  of  the  Stage,  Philadelphia,  1855;  and  various  reviews  and 
magazines  that  devote  attention  to  theatrical  matters. 

'  Dunlap,  II,  p.  120. 

'The  following  adaptations  of  Dunlap  were  revived:  Count  Benyowsky, 
Force  of  Calumny  (1814-15),  Lovers'  Vows  (1815-16),  Fraternal  Discord 
(1816-17). 

*  Remarks  by  Ireland  and  Blake  show  that  these  pieces  were  still  in  vogue 
between  i860  and  1870.  ("  It  \^The  Stratigerl  bids  fair  to  retain  its  popularity 
for  a  long  time." — Blake.) 


Frederick  H.  Wilkens.  29 

faithful  shadow.^  Mrs.  Mowatt  relates,  from  personal  experi- 
ence, in  order  to  show  that  Kotzebue's  Stranger  could  have  a 
moral  effect,  how  a  young  lady  contemplating  the  crime  which 
had  made  ]\Irs.  Haller  miserable,  was  stricken  by  conscience, 
during  a  performance  of  the  Stranger  at  Charleston,  and,  with 
a  shriek,  fainted  from  a  sudden  attack  of  hysteria.^  Nothing 
would  probably  have  delighted  the  vain  author  more  than  to 
have  lived  to  record  in  his  favor  this  testimonial  from  across  the 
Atlantic.  His  delight  in  such  certificates  of  morality  is  of 
course  a  half-conscious  confession  of  his  weakness  as  a  moralist. 
We  have  noticed  how  during  Dunlap's  management  Kotzebue 
"was  the  rage  "  for  a  number  of  years  (1799-1802)  and  then, 
by  a  natural  sifting  process,  only  a  number  of  pieces  kept  the 
stage.  For  the  season  of  181 3-14  William  Wood  records  a 
remarkable  revival  of  the  German  drama  at  his  Philadelphia 
theatre.  He  says :  ^  "  The  German  drama,  at  this  time,  stood 
high  in  public  favor.  We  may  call  it,  indeed,  the  German 
Season.  Pizarro^  Virgin  of  the  Snn^  The  Stranger.,  and  The 
Robbers.,  had  been  long  favorably  established,  as  well  as  Kotze- 
bue's minor  pieces,  Hozu  to  Die  for  Love.,  Horse  and  the 
Widozv.,  Of  Age  To-morrozv.,  and  others.  Benyowsky  has  been 
already  noticed.  But  this  season  they  became  entirely  the 
fashion,  and  made  the  German  drama  a  matter  much  discussed. 
Schiller's  noble  drama  of  The  Miiiister.,  or  Cabal  and.  Love^ 
was  now  altered  and  acted  with  distinguished  success,  under  the 
title  of  the  Harper'' s  Daughter.'''' 

'  A  typical  discussion  of  this  kind  is  to  be  found  in  the  Companion  and  Weekly 
Miscellafiy,  Baltimore,  1804-05,  p.  33,  where  "  Crito  "  claims  that  the  repent- 
ance of  Mrs.  Haller  precludes  any  bad  example,  while  his  opponent  brands 
Kotzebue  as  being  "  pretty  well  known  to  be  one  of  that  vile  band  of  German 
conspirators  against  the  peace,  the  virtue,  nay,  the  very  existence  of  civil  and 
religious  society."  We  will  not  err  in  assuming  that  the  critic  draws  here  for 
his  weapons  on  the  arsenal  of  Mrs.  Hannah  More,  or  some  other  equally 
redoubtable  warrior  for  good,  established  morality. 

A  majority  of  the  critics  were,  it  seems,  arrayed  against  the  morality  of  the 
piece. 

*Anna  Cora  Mowatt,  Autobiography  0/ an  Actress,  1865. 

'  Recollections,  p.  183. 


30  Early  Injlitence  of  German  Literature  in  Afnerica. 

While  we  have  not  hesitated  to  give  Kotzebue  the  considera- 
tion that  he  deserves  from  the  esteem  in  which  his  dramas  were 
held  by  persons  of  taste  and  some  critical  ability,  the  works  of 
Schiller  and  their  reception  in  America  excite  naturally  a  greater 
interest.  We  smile  now  when  we  find  Schiller  so  to  speak  arm 
in  arm  with  Kotzebne  and  Zschokke/  But  we  must  consider 
that  the  American  readers  and  audiences  of  the  time  did  not 
have  accessible  numerous  accounts  of  German  literature,  as  we 
have,  in  which  the  works  of  Zschokke's  youth  and  the  whole 
pretentious  writings  of  Kotzebue  are  disposed  of  in  a  line  or  two 
at  the  most,  while  the  account  of  Schiller's  life  fills  many  pages. 
We  must  remember  that  Schiller,  for  a  long  time,  was  known 
only  by  the  less  mature  though  perhaps  more  striking  works  of 
his  youthful  years,  principally  the  Robbers^  and  to  a  certain 
extent  by  Kabale  und  Liebe.  But  still  the  feeling  is  discernible 
that  Schiller's  Robbers  possessed  something  that  was  lacking  in 
the  same  way  in  any  other  author  of  the  time.  This  element 
we  can  best  sum  up  in  the  word  sublimity.  / 

The  editions  of  Schiller's  works  reprinted  in  this  country  are 
contained  in  the  appended  list  of  translations,  where  statements 
may  be  found  in  regard  to  the  difierent  translations  which  they 
represent.  There  existed  at  least  three  American  reprints  of 
the  Robbers  (1793,  1802,  1808?)  and  possibly  a  fourth  (1825  or 
earlier).  Kabale  und  Liebe  was  reprinted  twice  (1802,  1813), 
the  latter  edition  being  an  adaptation  made  for  the  American 
stage.  We  find  one  edition  of  Fiesco  (1802),  and  it  is  interesting 
to  note  that  Coleridge's  translation  of  the  Piccolomini^  in  spite 
of  the  fact  that  it  failed  to  attract  attention  in  England,  was 
reprinted  in  America  (1805).  'T'his  may  be  taken  to  show  that 
the  publishers  expected  a  general  interest  in  Schiller  extending 
beyond  those  works  which  appealed  to  the  existing  taste  in 
matters  of  the  drama. 


*At  Providence,  R.  I.,  Abaellino  "was  announced  in  the  bills  as  the  best 
dramatic  work  of  the  best  dramatic  writer  of  the  age,  Schiller"  (Blake,  p.  62). 
It  is  impossible  to  tell  whether  the  management  really  believed  this.  It  is 
interesting  to  notice  that  the  extravagant  character  of  the  Abaellino  was 
probably  sufficient  to  make  this  announcement  appear  credible  to  the  public. 


Frederick  H.  Wilkens.  31 

Of  these  plays  the  Robbers  alone  enjoyed  a  general  vogue  on 
the  American  stage.  Not  that  the  piece  could  at  all  compete  in 
frequency  of  performance  with  Kotzebue's  popular  dramas,  the 
Robbers  being,  indeed,  unsuited  for  frequent  repetitions  ;  but  the 
play  nevertheless  put  in  an  appearance  from  time  to  time  as  one 
of  the  most  substantial  morsels  for  the  palate  of  the  theatre- 
goer. ^  In  England,  as  is  well  known,  the  Robbers  was  not 
publicly  performed,  for  political  and  kindred  reasons,  and  even 
during  the  first  quarter  of  our  century  no  performance  seems  to 
be  recorded.  Here  we  have  clearly  an  example  of  difference  in 
political  institutions  affecting  the  literary  conditions  of  the 
country. 

It  would  be  interesting  to  examine  in  detail  the  adaptations 
in  use  for  the  American  stage,  if  such  can  still  be  traced  at  the 
present  day.  John  A.  Dunlap  speaks  of  these  versions  in  the 
following  words  :"^  "Schiller's  plays  are  well  known  to  the 
literary  world,  but,  except  the  Robbers^  they  are  not  familiar  to 
the  frequenters  of  the  English  or  American  theatres  ;  and  The 
Robbers  so  mutilated  and  mangled  as  to  give  no  adequate  idea 
of  the  great  German  poet." 

William  B.  Wood,  one  of  the  most  respected  stage  managers 
and  actors  of  this  early  period,  whose  name  we  have  already 
mentioned  more  than  once,  makes  some  interesting  remarks 
about  the  corruption  which  the  German  drama  suffered  at  the 
hands  of  English  and  American  translators  and  managers,  mak- 
ing it  often  difficult  for  the  public  to  judge  of  the  merits  of  the 
originals.  He  gives  the  following  account  of  the  version  of  the 
Robbers  in  use  in  the  Philadelphia  theatre,  which  he  considers 
a  judicious  adaptation  of  a  German  piece  for  the  American 
stage. '^     "  In  the  Robbers  the  episode  of  Kozinski  and  the  dis- 

^I  mention  a  number  of  performances  that  have  come  to  my  notice:  New 
York,  1795  (probably  the  earhest  performance  of  the  piece  in  Enghsh),  April  7, 
1800,  June  3,  1801;  Philadelphia,  season  1805-06,  i8io-ir,  1813-14  (Cooper, 
Charles  de  Moor);  New  Orleans,  January  i,  1806;  Providence,  September  17, 
1806  (theatre  closed  "with  Schiller's  celebrated  tragedy  The  Robbers'^); 
Albany,  spring  1815. 

^Dunlap,  II,  p.  104. 

^Recollections,  p.  185. 


r^ 


32  Early  Infiuence  of  German  Literature  in  America. 

guise  scenes  of  Charles  as  the  count  were  omitted,  with  great 
advantage  to  the  general  interest  of  the  piece,  and  particularly 
as  thev  affected  the  position  and  value  of  Amelia.  A  prolixity 
in  some  of  the  scenes,  especially  those  of  Francis,  Kozinski,  and 
the  assumed  count,  throws  a  weight  upon  the  play,  which  may 
well  be  avoided,  and  save,  to  the  actor  of  Charles,  much  power, 
otherwise  wasted  on  minor  situations,  and  which  is  loudly  called 
for  at  the  close  of  the  fourth  and  throughout  the  fifth  act." 

As  it  is  seldom  possible  to  furnish  a  detailed  criticism  of 
German  works  from  the  pen  of  an  early  American  reviewer,  it 
may  be  of  interest  to  quote  some  remarks  about  the  Robbers 
found  in  the  Monthly  Anthology  and  Boston  Review.,  a  period- 
ical which  embodied  the  young  aspirations  of  Boston  culture  in 
a  manner  very  creditable  for  that  time.  The  remarks  are 
characterized  by  a  fairness  which  is  somewhat  rare  in  conserva- 
tive public  opinion  of  the  time.  They  are  found  in  a  series  of 
articles  under  the  title  Silva.,  Vol.  IV  (1807),  p.  371.  The 
accents  of  the  critic  are  perhaps  a  little  stammering  but  his 
admiration  is  undisguised.  "  There  is  no  doubt  some  raving  and 
theatrical  declamation  in  the  tragedy  of  the  Robbers.,  but  I  do 
pity  the  soul,  that  is  not  melted  with  its  tenderness  and  roused 
by  its  energies.  Perhaps,  in  the  whole  fairy-ground  of  fiction,  a 
character  like  Moor  cannot  be  found.  His  revenge  is  of  the 
most  natural  kind,  always  uniform,  and  wonderfully  great.  The 
kind  feelings  are  not  buried  nor  destroyed  .  .  .  they  only 
slumber  in  temporary  torpor.  Sentiments  the  most  manly,  and 
perceptions  which  savour  of  true  greatness,  are  often  expressed 
in  language  the  most  forcible  and  sublime.  As  for  Francis,  he 
has  the  form,  the  features,  and  the  folly  of  a  villain.  Great  art 
is  clearly  exhibited  in  his  manner  of  deceiving  his  father,  and 
his  subsequent  conduct  makes  him  the  finished  hero  of  vice. 
Who  does  not  love  Amelia?  So  constant  in  her  affection,  so 
great  in  her  hatred.  As  for  the  robbers,  how  nicely  are  their 
characters  and  dispositions  marked  !  All  are  criminal,  yet  some 
are  perhaps  to  be  pitied,  and  others  are  downright  offenders, 
with  blackest  hearts  and  hands  full  of  shameful  vice.     But  if  we 


Frederick  H.   Wilkens.  33 

consider  the  state  of  society  at  that  time,  they  will  not  appear 
so  very  detestable.  Knowledge  and  religion  were  mere  names, 
or  not  better  than  superficial  science  or  hateful  superstition. 
The  use  of  arms  was  fully  allowed,  by  which  means  alone  the 
poor  were  protected,  and  provided  for,  and  the  female  sex 
defended  from  insult,  or  their  dishonor  revenged.  The  robbers 
in  this  play  are  eager  to  sacrifice  the  infamous  Charles,  and  in 
fact  he  is  buried  in  the  tomb  he  has  prepared  for  his  father. 
How  do  they  catch  every  word  of  Kozinki's  [sic]  tale,  and  how 
do  they  burn  for  revenge  on  the  villainous  prince,  the  possessor 
of  his  Amelia  !  Indeed  our  state  of  civilization  is  no  standard, 
by  which  the  feudal  ages  are  to  be  tried.  To  me  it  appears, 
that  the  crimes  of  the  robbers  were  the  common  disorders  com- 
mitted by  the  strong,  and  so  universal  were  the  ravages  of  a 
similar  nature,  that  I  rather  consider  the  actions  and  bloody 
thoughts  of  the  robbers  as  necessary  consequences  of  barbarism, 
than  criminal  aberrations  from  moral  virtue.  The  language  of 
the  play  is  generally  natural.  It  is  strong  in  a  high  degree,  and 
powerfully  impresses  the  dictates  of  revenge,  the  emotions  of 
terror,  and  the  sentiments  of  pity." 

We  have  already  mentioned  the  early  New  York  perform- 
ances of  Kabale  und  Liebe^  which  preceded  the  London  per- 
formances by  several  years.  Of  this  piece  a  stage  version  used 
in  an  American  theatre  is  still  extant.  This,  an  adaptation  of 
Lewis'  translation  of  Kabale  und  Liebe  {The  Minister)^  made  for 
the  Philadelphia  stage  under  the  title  of  The  Harper'' s  Daughter^ 
gives  us  an  idea  how  a  Sturm  und  Drang  drama  was  shortened 
for  the  American  stage,  and  according  to  what  principles  it  was 
brought  into  harmony  with  the  conservative  ideas  of  propriety, 
morality,  and  religion. 

'Published  1813  (cf.  No.  152),  played  1813-14  at  Philadelphia  and  Baltimore 
during  the  season  already  mentioned  when  the  German  drama  experienced  a 
remarkable  revival.  I  do  not  know  what  relation  exists  between  this  version 
and  the  adaptation  played  at  Covent  Garden,  May  4,  1803.  This  version  was 
attributed  to  Lewis  himself.  Cf.  Genest,  Account  of  the  English  Stage,  Vol. 
VII,  p.  583,  also  Singer,  Sticdien  zur  Litteraturgeschichte,  Michael  Bernays 
gewidmet,  1893,  p.  12. 

3 


34  Early  bifliicnce  of  German  Literature  in  A7nerica. 

By  a  bold  cut  (amounting  to  more  than  the  average  act)  all 
scenes  in  which  Augusta  (Lady  Milford)  appears  (Act  II,  Sc. 
1-5,  Act  IV,  Sc.  6-1 1)  were  excised;^  two  minor  characters, 
Catherina  (Sophie)  and  Walter  (ein  Kammerdiener  des  Fursten), 
disappeared  in  the  same  change.  "  It  was  found  necessary  to 
omit  the  whole  character  of  Augusta — a  portion  of  the  drama 
upon  which  the  great  talents  of  Schiller  have  been  most  labori- 
ously employed  "  are  the  words  in  which  this  action  is  explained 
by  Wood,  for  whose  stage  the  adaptation  was  made  and  who  is 
possibly  the  author,  or  who  may  have  inspired  this  version. 
These  omissions  necessitate  a  different  division  of  the  acts  and 
they  undoubtedly  disturb  the  balance  of  the  play,  but  an  Ameri- 
can audience  of  the  period  would  hardly  care  for  more  than  the 
thrilling  main  plot. 

Apart  from  this  excision  of  whole  sections  of  the  drama,'  a 
great  number  of  omissions,  varying  in  length  from  a  word  to  a 
page  or  more,  helped  to  cut  down  the  drama  to  about  half  its 
original  size.  All  references  to  the  E^ek^uire  avoided,  except  in 
a  few  situations  where  the  intensity  of  feeling  seemed  to  make 
such  appeal  allowable.  Mad  bursts  of  passion  and  the  exclama- 
tions of  a  distracted  mind,  the  wild  despair  that  drives  a 
tortured  creature  into  urgent  appeal  to  the  Deity  and  links 
the  fate  of  an  individual  with  the  economy  of  the  world,  all  in 
fact  that  may  be  interpreted  as  undue  familiarity  wuth,  or 
revolt  against.  Providence,  or  that  was  repulsive  to  American 
:  audiences  by  excess  of  emotion. 

The  realism  of  Schiller's  youthful  art  was  too  strong  for  an 
audience  that  was  accustomed  to  a  more  conventional  treatment 
of  the  characters  of  the  drama.  Miller  (here  called  Munster), 
blustering,  verging  on  coarseness, — but  nevertheless  honest  and 
honorable — is  much  toned  down,  and  Elizabeth  (Frau  Miller) 
subjected  to  a  similar  treatment. 

While  the  American  audience  submitted  to  the  unlimited 
introduction  of  stage  horrors  and  terrors,  some  of  the  concrete 

'  Act  III,  Sc.  4  is  also  cut. 


Frederick  H.   Wilkens.  35 

examples  of  tyranny  and  oppression  such  as  were  conceivable 
(even  though  an  exception)  in  the  Germany  of  the  eighteenth 
century  had  to  be  omitted,  as  unintelligible  or  repulsive. 
Declamations  against  distmctious  of  class  were  retained  as  being 
unchallengeable  in  republican  America,  while  usually  a  con- 
servative policy  is  brought  to  bear  on  anything  savoring  of 
radicalism.  Of  mere  sentiment  and  sentimentality  the  inhabi- 
tants of  the  new  world,  as  well  as  those  of  the  old,  could  stand 
at  that  period  an  amount  and  a  quality  that  would  be  nauseat- 
ing to  modern  taste,  so  that  the  drama  did  not  call  for  changes 
from  this  point  of  view.  Add  to  these  omissions  the  frequent 
curtailing  of  lengthy  discussions,  of  rhetorical  repetition,  and  of 
elaborate  climax,  and  the  statement  will  seem  intelligible  that 
the  piece  was  reduced  to  one  half  its  original  size. 

There  is  nothing  added  as  offset  to  these  many  omissions, 
only  a  word  or  a  phrase  here  and  there,  to  establish  the  neces- 
sary connection  where  omissions  or  changes  had  been  made. 
We  may  regard  the  adaptation  as  well  suited  for  its  pur- 
pose, and  must  praise  the  conservative  spirit  that  avoided  all 
attempts  at  improving  Schiller's  drama  by  original  efforts. 
It  bears  a  striking  contrast  to  the  Baltimore  reprint  of  1802, 
which  represents  a  miserable  perversion  of  the  great  master's 
work. 

Before  leaving  the  subject  of  the  German  drama  in  America, 
which,  as  we  have  seen,  has  presented  some  novel  aspects  as 
compared  with  the  history  of  the  German  drama  in  England,  I 
should  like  to  call  attention  to  the  reprint  of  Walter  Scott's 
translation  of  Goetz  von  Berlichingen  (1814,  No.  155).  Two 
adaptations  from  the  German  by  American  authors  deserve 
mention  only  as  curiosities.  Mordecai  Noah  adapted  Sonn- 
leithner's  text  to  Beethoven's  Fidelio  under  the  title  of  the 
Castle  of  Sorrento  (No.  1 26),  without  departing  far  from  his 
original,  and  a  crack-brained  youth  made  a  dramatic  version  of 
Rinaldo  Rinaldini  (No.  144),  by  the  very  simple  process  of 
copying  out  the  dialogue  from  Hinckley's  translation  of 
Vulpius'  prose  romance  Rinaldo  Rinaldini^  a  curious  proof  how 


36  Early  bifluence  of  German  Literature  in  America. 

the  rage  for  extravagant  literature  affected  America  as  well  as 
Europe.' 

German  Fiction. 
German  fiction,  although  probably  not  engrossing  as  large  an 
amount  of  public  attention  as  the  German  drama,  was  neverthe- 
less represented  by  one  of  the  most  brilliant  meteors  among  the 
literary  constellations  of  the  last  century,  long  before  the  Ger- 
man drama  became  the  admiration  of  the  public.  We  refer  to 
Goethe's  Sorrows  of  Werter^  which  was  reprinted  in  America  at 
least  six  times  in  four  different  translations  during  our  period.- 
Of  these  old  prints  of  Werter  it  is  true  even  more  than  of  the 
average  reprints  of  the  period  that  they  are  difficult  to  trace. 
They  have  disappeared  from  the  libraries,  succumbing  to  long 
and  frequent  use,  or  were  lost  by  neglect  when  the  fashion  in 
fiction  changed.  To  many  libraries  this  dangerous  work  was 
certainly  never  granted  admittance.  It  is  pennissible  to  regard 
^  these  prints  as  a  proof  that  the  "  Wertherfieber  "  prevailed  also  in 
America,  although  probably  only  in  a  very  light  form.  These 
American  reprints  must  be  regarded  as  the  last  ripples  of  a  wave 
that  swept  the  civilized  world.  It  is  of  course  out  of  the  question 
that  American  readers  should  understand  the  significance  of  the 
work  as  we  now  interpret  it  in  the  light  of  Goethe's  individual 
development  and  the  general  history  of  the  times.  It  is  to  be 
regarded,  even  more  than  in  England,  as  a  representative  speci- 
men of  the  highly  sentimental  literature  then  in  vogue.  The 
popularity  of  Werther  in  America  was  sufficient  to  justify  the 
well  known  Dr.  Benjamin  Rush  in  singling  it  out  as  a  sample  of 
pernicious  novel,  the  reading  of  which  deserves  censure.  In 
his  Thoughts  upon  the  Female  Education  ^  he  adverts  to  the  case 
of  "  young  ladies  who  weep  away  a  whole  forenoon  over  the 

'  This  puerile  effort  cannot  be  from  the  pen  of  Dunlap.  He  mentions  Rinaldo 
Rinaldini  among  his  works,  probably  an  acting  drama  constructed  by  him 
from  the  German  original. 

2  Philadelphia,  1784  (No.  8),  Litchfield.  Conn.,  1789  (10),  New  York,  1795  (27), 
Boston,  1798  (39),  Boston,  1S07  (iiS),  Boston,  1807  (119). 

»  Benjamin  Rush,  Essays,  Literary,  Moral,  and  Philosophical,  1798. 


Frederick  H.  Wilkens.  37 

criminal  sorrows  of  a  fictitious  Charlotte  or  Werter,"  only  to 
refuse  a  begforar  in  the  afternoon.  This  is  a  criticism  familiar  to 
the  English  public  and  was  probably  borrowed  by  Dr.  Rush  from 
English  sources,  like  so  many  opinions  during  the  infancy  of 
our  national  life. 

Werther^  like  Gessner's  Death  of  Abel^  gave  rise  to  imitations 
in  England  and  elsewhere.  Of  the  large  number  of  these  imita- 
tions and  works  founded  on  Werther^  one  at  least,  the  Letters  of 
Charlotte  during  her  Connexioti  with  Werter^  was  reprinted  sev- 
eral times.^  It  is  a  vapid,  inane  work,  utilizing  suggestions  from 
its  German  model  to  construct  a  Werter  without  objectionable 
features.  Its  only  redeeming  quality  is  that  its  style  is  not  as 
outrageous  as  is  the  case  with  many  imitations  of  sentimental 
literature.  It  was  sometimes  printed  in  America  in  the  same 
volume  with,  and  after,  Werter^  as  if  intended  to  act  as  a  seda- 
tive after  the  soul-stirring  lines  that  preceded  it. 

Schiller's  brilliant  work  of  fiction,  the  Ghostseer^  was  reprinted 
in  two  American  editions  representing  two  different  translations.^ 

The  mention  of  Schiller's  Ghostseer  suggests  a  few  remarks 
about  Charles  Brockden  Brown,  the  first  American  writer  of 
fiction  whose  works  possess  more  than  ordinary  merit.  His 
JVie/afid  (lygS)  is  a  powerful  tale  of  terror,  a  species  of  litera- 
ture in  which  the  Germans  easily  carried  off"  the  palm,  and  for 
which  they  were  supposed  to  furnish  the  best  models.*     But  we 

^  1797  (No.  35),  1798  (No.  40),  1807  (120).  The  last  two  editions  were  printed 
in  the  same  volume  with  the  Sorroivsof  Werter.  A  German  translation,  which 
appeared  in  1825,  claims  to  have  been  made  after  the  fifth  American  edition. 
About  the  character  of  this  work,  cf.  J.  W.  Appell,  Werther  tmd  seine  Zeit, 
Leipzig,  1865,  pp.  12-15,  T.  Siipfle,  Zeitschrifi  fur  vergleichende  Litteratur- 
geschichte,  N.  F.,  Vol.  VI  (1893),  p.  312. 

="  Reprinted,  New  York,  1796  (No.  33),  and  Philadelphia  [i8oo?-i8o3]  (No.  71). 
The  Ghostseer  (version  No.  33)  was  also  printed  as  a  serial  in  the  New  Vork 
Weekly  Magazine,  1795,  pp.  16  fiF.,  under  the  title  The  Apparitionist.  The 
same  magazine  published  Tschink's  Victim  of  Magical  Delusion,  a  weak  imita- 
tion of  Schiller's  Ghostseer. 

«I  shall  not  enter  here  on  the  consideration  of  a  possible  influence  of  Schil- 
ler's Ghostseer  on  Wieland.  Professor  Learned  informs  me  that  he  has  devoted 
attention  to  this  subject  and  I  refer  to  some  remarks  on  the  same,  which  he 
intends  to  publish  soon. 


f 


38  Early  hifliieyice  of  German  Literature  in  America. 

are  interested  in  the  novel  from  another  point  of  view.  Brown 
reveals  in  the  same  a  sympathetic  attitude  towards  German  cul- 
ture, which  is  astonishino^  with  an  American  during  this  early 
period,  and  for  which  it  will  be  difficult  to  find  a  parallel  among 
those  who,  like  Brown,  had  never  lived  in  Germany.*  The 
characters  of  the  piece — the  scene  is  laid  in  the  neighborhood 
of  Philadelphia — are  of  German  extraction  and  cultivate  the 
poetr}'  of  their  ancestors  at  their  new  home.  He  makes  Wieland, 
the  central  character  of  the  novel,  a  connection  of  the  well- 
known  German  poet  of  that  name.  It  is  possible  that  Brown 
had  made  the  acquaintance  of  cultured  Germans,  either  at 
Philadelphia,  his  home,  or  at  New  York,  where  he  resided  at 
this  time. 

From  1 799-1 800  Brown  published  at  New  York  the  Monthly 
Magazine  and  American  Review.  This  magazine,  which  was 
published  at  the  time  when  the  influence  of  German  literature 
had  reached  the  high-water  mark  in  England,  devotes  more 
attention  to  German  literature  than  any  other  periodical  of  the 
.period  that  falls  within  the  scope  of  our  investigation.  It  seems 
a  petty  affair,  measured  by  our  modern  standards,  but,  in  com- 
parison with  former  American  reviews,  shows  an  advance  that 
is  most  creditable  to  its  editor.  Brown's  friend  Dunlap,  whose 
labors  in  introducing  the  German  drama  into  America  have 
been  noticed  at  some  length,  and  other  literary  characters  of 
New  York  were  contributors.  We  find  there,  among  others, 
reviews  of  Dunlap's  and  Smith's  translations  from  Kotzebue,  a 
life  of  Biirger,  anecdotes  of  Kotzebue  and  Schiller,  an  account 


'  It  is  this  generally  sympathetic  point  of  view  that  foreigners  lacked  for  a 
long  time  in  their  attitude  toward  Germany,  even  if  they  felt  an  interest  in  cer- 
tain products  of  its  literature.  From  this  consideration  the  question  where 
Brown  got  his  information  gains  interest.  His  source  was  apparently  Baron 
Riesbeck's  Travels  through  Germany,  translated  by  the  Rev.  Mr.  Maty,  3  vols. , 
London,  1787.  This  work  by  J.  K.  R.  Riesbeck  (the  title  of  Baron  is  ficti- 
tious )  was  indeed  sufl&cient  to  serve  as  a  revelation  to  the  average  American  or 
English  reader.  Brown's  conceptions  as  well  as  misconceptions  of  German 
literature  are  satisfactorily  explained  from  the  assumption  that  he  was  impressed 
by  this  work. 


Frederick  H.   Wilkens.  39 

of  the  state  of  the  German  stage,  remarks  on  the  literary  labor 
of  the  Germans,  and  most  interesting  of  all,  an  article  on  the 
study  of  German.  These  samples  will  show  to  what  extent 
the  attention  of  the  literary  men  of  New  York  was  focused  on 
German  literature. 

The  works  of  fiction  may  generally  be  assigned  to  two  differ- 
ent classes.  We  have  on  the  one  hand  the  extravagant  fiction 
that  followed  in  the  wake  of  the  Robbers^  the  Ghostseer^  and 
Goetz  von  Berlichingen^  on  the  other  hand  the  sentimental  and 
"  family "  novel  ("  Familienroman ").  Of  an  older  type  of 
German  fiction  (if  we  except  Gessner's  Death  of  Abel)  there 
seems  to  be  only  one  example  among  American  reprints.  This 
is  a  translation  from  Wieland,  Socrates  out  of  his  Senses^  New- 
burgh,  N.  Y.,  1797  (No.  36).  To  reprint  one  of  Wieland's 
novels  of  Greek  life  was  a  bold  undertaking,  as  one  edition 
usually  more  than  supplied  the  needs  of  the  much  larger  British 
reading  public.  Of  the  original  English  translation  of  this 
work,  in  particular,  the  statement  is  made  that  it  was  "  received 
with  utter  indifference  by  the  public."^ 

Of  the  extravagant  works  of  German  fiction,  known  variously 
under  the  name  of  tales  of  terror,  of  horror,  or  of  wonder,  a 
number  were  reprinted  in  this  country.  Such  are  Wachter's 
Black  Valley  (No.  82),  in  which  thrilling  adventures  are  intro- 
duced, and  Spiess'  Mountain  Cottager  (No.  69),  for  the  character 
of  which  we  must  refer  to  the  striking  motto  :  "  Ye  visions  that 
before  me  roll, — that  freeze  my  blood, — that  shake  my  soul, — are 
ye  the  phantoms  of  a  dream?"  Vulpius'  Rinaldo  Rinaldini 
(No.  144)  was  dramatized,  as  already  stated,  and  Lewis'  transla- 
tion of  Zschokke's  prose  romance  Abaellino  reprinted  twice 
under  the  title  of  the  German  original,  which  Dunlap  had  made 
generally  popular  in  America  by  his  adaptation  of  the  German 
drama  (No.  138,  139).  Add  to  these  Lewis'  collection.  Roman- 
tic Tales  (No.  135 — the  Tales  of  Terror  are  mentioned  later 
under  poetry — ),  and  the    Tales  of  Wonder^  of  Hmnour  and 

'  W.  Taylor,  Historic  Survey  0/  Gertnan  Literature,  1830,  Vol.  II,  p.  314. 


r 


40  Early  Infiuence  of  Gennayi  Literature  in  A7nerica. 

Sentivicnt  of  the  Misses  Plumptre,  which  possibly  contribute 
some  literature  of  the  kind,  and  we  have  a  fair  collection  of 
tales  of  wonder,  etc.,  in  which  Schiller's  Ghostseer  ^\o\\\.^  figure 
as  the  most  prominent  and  most  brilliant  example.  It  may  not 
be  amiss  to  introduce  into  this  company  the  venerable  patriarch 
of  the  German  tales  of  wonder,  the  history  of  Dr.  Faustus.  As 
in  England,  the  story  seems  to  have  been  popular  and  to  have 
been  spread  in  the  form  of  chapbooks  (No.  25,  83,  176). 

It  requires  no  particular  effort  at  the  present  day  to  deride  this 
grotesque  and  often  almost  nonsensical  class  of  literature.  What 
significance  this  type  had  for  the  development  of  German  litera- 
ture is  irrelevant  in  this  connection.  But  in  England  and 
America  a  rough  disturbance  was  necessary  to  wake  the  drowsy 
muse.  A  rude  plough  was  needed  to  break  the  hardened, 
barren  soil  for  the  coming  of  a  new  crop.  The  free  and  extrav- 
agant variation,  by  imitators,  of  the  themes  that  had  been  more 
or  less  clearly  enunciated  by  Goethe  and  Schiller  in  the  works 
of  their  youth,  was,  from  some  points  of  view,  better  adapted  to 
affect  England  and  America,  where  the  ideals  of  the  genuine 
Sturm  iind  Dra7ig  were  not  intelligible,  from  causes  that  are 
apparent  to  every  student  of  the  world's  literature  but  need 
not  here  be  repeated. 

We  will  call  to  mind  only  one  of  these  stories,  that  of  x'Vbael- 
lino,  who,  disguised  as  a  bandit,  terrifies,  without  the  help  of  an 
accomplice,  the  whole  state  of  Venice,  effecting  its  salvation, 
while  apparently  its  greatest  scourge.  He  is  as  quick  in  chang- 
ing his  disguises,  as  he  is  superhuman  in  his  actions.  The 
Abaellino  may  not  be  literature  of  a  high  grade ;  the  author 
himself  smiled  when,  in  maturer  years,  after  a  career  of  lofty 
effort  and  well-deserved  literary  success,  he  looked  back  upon 
the  child  of  his  youthful  fancy.  But  if  we  consider  the  effect 
which  the  prevalence  and  popularity  of  such  literature  must 
have  had  on  a  taste  formed  by  the  models  of  the  classical,  or, 
often  more  correctly,  pseudo-classical  authors  of  the  last  century, 
we  will  appreciate  how  they  were  helpful  in  introducing,  both 
in  America  and  England,  a  bolder  and  more  romantic  form  of 


Frederick  H.   Wilkens.  41 

literature.  These  authors,  mauy  of  them  a  sort  of  talented 
literary  vagabonds,  take  a  rank  in  German  literature  even  lower 
than  they  deserve,  because  they  must  stand  comparison  with 
the  greatest  heroes  of  lofty  artistic  endeavor.  But  they  are 
nevertheless  a  robust  race,  often  prodigal  sons  of  a  good  house, 
bearing  traces  of  having  associated  with  good  company.  Monk 
Lewis'  puerilities  do  not  possess  the  childlike  ingenuous- 
ness of  the  German  products  ;  lacking  spontaneousness  in  the 
handling  of  his  extravagant  themes,  his  pieces  seem  like  inten 
tional  caricatures  of  his  German  models.  It  is  not  the  intention 
to  follow  out  these  suggestions  in  this  connection,  as  it  would 
lead  us  beyond  the  limits  which  have  been  set. 

A  second  type  of  German  fiction,  although  not  as  characteris- 
tic as  the  tale  of  terror,  obtained  considerable  vogue  in  England 
and  America.  This  was  the  sentimental  and  "  family  "  novel 
("  Familienroman  ").  A  number  of  Kotzebue's  stories,  which 
were  carried  along  with  his  dramas  on  the  wave  of  popularity 
that  swept  the  world,  were  translated  in  England  and  America. 
Many  of  these  appear  to  belong  entirely,  or  by  some  of  their 
characteristics,  in  this  class  of  literature,  others  seem  to  have 
more  the  character  of  historical  novels.  It  has  not  been  found 
possible  to  examine  them  in  detail  and  I  simply  give  a  list  of 
American  editions,  referring  to  the  index  for  further  references  : 
The  Beautiful  Unknown  (translated  by  Charles  Smith  of  New 
York),  The  Constant  Lover ^  Ildegerte^  The  Pigeon  (translated 
by  a  Philadelphian),  The  Sufferijigs  of  the  Family  of  Ortetiberg^ 
Zaida  (translated  by  Charles  Smith). 

August  Lafontaine,  the  representative  writer  of  the  German 
family  novel,  found  readers  in  England  as  well  as  Germany. 
Although  he  is  justly  regarded  as  a  mere  manufacturer  of 
novels,  without  a  spark  of  artistic  individuality,  he  is  sometimes 
honored  by  the  name  of  the  celebrated  Lafontaine.  In  his  suc- 
cesses and  inherent  weaknesses  he  is  aptly  comj^ared  to  Kotze- 
bue.  In  1810  a  New  York  publisher  reprinted  the  Village 
Pastor  and  His  Children  (No.  142),  and  announced  his  inten- 
tion to  republish  all   the  works  of  Lafontaine  "if  the  public 


42  Early  Influence  of  German  Literature  in  America. 

encourage  the  sale  of  them."  He  would  have  found  the 
resources  of  his  printing  office  taxed  if  the  public  had  kept  him 
to  his  word  and  had  forced  him  to  print  the  150,  or  more, 
Gennan  originals,  or  even  the  two  or  three  dozen  translations 
made  in  England.  We  have  noticed  only  one  other  reprint  of 
Lafontaine,  Romulus,  Baltimore,  1814  (No.  159).' 

Finally  a  reprint  of  an  English  translation  of  Pestalozzi's 
Lieuhard  tind  Gertriid  (No.  80)  is  to  be  mentioned.  The 
English  original  translation  states  that  it  was  made  "  with  the 
hope  of  its  being  useful  to  the  lower  orders  of  society,"  which 
remark  reminds  one  of  the  worthy  Hannah  More  and  her  circle. 

This  earlier  type  of  German  fiction  (printed  and  reprinted  in 
America  about  1800)  is,  after  the  lapse  of  a  decade  or  two,  replaced 
by  another  class  of  fiction  of  a  more  modern  type.  The  first 
example  of  this  kind,  which  I  am  able  to  find,  is  Dr.  Tobias 
Watkins'  translation  of  Zschokke's  Das  Abentaier  der  Neiijahrs- 
vac/il(No.  172).  The  translation  has  no  particular  merit  and 
probably  reached  only  a  small  circle  of  readers.  But  it  is  inter- 
esting as  a  proof  of  Gennan  studies  in  the  circle  of  Baltimore 
literati,  of  which  Watkins  was  a  prominent  member.  It  seems 
to  be  the  earliest  translation  of  this  popular  tale,  of  which  half 
a  dozen  or  more  translations  have  appeared.  It  is,  in  fact,  as 
far  as  I  can  see,  the  earliest  translation  of  that  type  of  stories 
which  gained  Zschokke  a  well-founded  national  and  inter- 
national reputation  as  a  skillful  narrator.^  In  1822  appeared  a 
reprint  of  La  Motte  Fouque's  Minstrel  Love  {SUngerliebe),  in 
1824  two  editions  of  the  same  author's  Undine.^  and  Chamisso's 
Peter  SchlemiJil.  The  appearance  of  these  products  of  the 
romantic  or  post-romantic  period  indicates  a  new  phase  in  the 
appreciation  of  German  literature,  which,  however  interesting 
it  may  be,  cannot  be  considered  here. 

'Two  novels  whose  authors  are  not  mentioned,  seem  to  belong  here,  to  judge 
by  their  titles.  They  are:  Eliza,  or  the  Patterii  of  Women  (No.  84),  and  He 
Loves  Me  Better  Than  His  Life  (No.  124). 

''■  We  will  recall  the  fact  that  Dunlap  was  the  first  to  introduce  Abaellino,  the 
principal  work  of  Zschokke's  youthful  "Sturm  und  Drang"  period,  in  an 
English  garb. 


Frederick  H.   Wilkens.  43 

German  Poetry. 

The  appreciation  of  poetry  written  in  a  foreign  language 
encounters  obstacles  not  met  with  in  the  case  of  prose.  By  an 
imperfect  knowledge  of  the  language  the  subtle  beauties  of 
poetr>'  are  obscured,  as  the  beauties  of  art  and  nature  are  hidden 
to  an  impaired  vision.  As  German  was  practically  little  under- 
stood during  our  period,  this  aspect  of  German  studies  does  not 
concern  us  greatly.  But  the  same  difficulties  that  embarrass 
the  student  of  poetry  are  encountered,  increased  a  hundredfold, 
by  the  translator,  whose  task  it  is  to  re-embody  in  his  own 
language  the  conceptions  of  the  original  and  the  indefinable 
charm  of  poetic  diction.  It  will  not  be  astonishing,  therefore,  to 
find  that  the  gems  of  German  poetry,  perhaps  the  highest  con- 
summation of  modern  poetic  literature,  were  entirely  unknown 
to  the  public  of  the  English-speaking  world.  Two  German 
poets  nevertheless  gained  in  their  English  version  a  popularity 
which  made  each  of  them  facile  prmceps  in  his  own  species 
of  literature.  These  two  poets  were  Biirger  and  Wieland.  The 
German  drama,  as  far  as  it  was  known  to  the  American  public, 
was  a  prose  drama  and  does  not  call  for  consideration  in  this 
connection. 

The  popularity,  in  England,  of  Biirger's  ballad  Lenorc  is  well 
known. ^  The  English  translations  of  this  ballad,  "the  best 
ballad  of  the  century,"  were  undoubtedly  imported  into  America, 
like  all  the  various  products  of  the  British  press.  Its  moderate 
size  also  made  it  suitable  for  reprinting  in  the  periodical  press 
and  it  was,  we  may  presume,  reprinted  in  that  way.^ 

iCf.  A.  Brandl  in  Erich  Schmidt's  Ckarakierisliken,  Berlin,  1886,  pp.  244-248. 
'A  version   of  Biirger's  Des  Pfarrers  Tochter  von    Tajibenhain,  the  Lass  of 
Fair  Wone,  was  reprinted  in  the  Americati  Universal  Magazine,  Philadelphia, 
Vol.  I,  1797,  pp.  211-215  (47  stanzas). 

Parodies  of  the  German  ballad  style  also  found  their  way  into  the  periodical 
press.     The  Philadelphia  Repository  and  Weekly  Register  for  1800-1801,  Vol.  I, 
p.  328,  reprints  a  burlesque  of  the  German  ballads  (it  "  appeared  in  The  Dessert 
to  the  True  Americatt  two  and  a  half  years  ago  ")  beginning  : 
"  Cold  blows  the  blast  ; — the  night's  obscure. 
The  mansion's  crazy  wainscots  crack  : 
The  sun  had  sunk  :  and  all  the  moor, 
Like  every  other  moor  was  black." 


44  Early  bijiuence  of  German  Literature  in  America. 

The  opinion  of  many  English  lovers  of  poetry  about  Wieland's 
Obero7i  is  aptly  expressed  in  the  words  of  Thomas  Campbell : 
"I  cannot  conceive  a  more  perfect  poet  than  their  favorite 
Wieland."  It  was  Sotheby's  excellent  translation  of  the  Oberon 
(1798)  that  made  Wieland's  poem  accessible  to  the  great  mass 
of  English  readers.  About  the  time  when  Sotheby  translated 
the  poem,  John  Quincy  Adams,  sixth  president  of  the  United 
States,  at  that  time  (1797-1801)  Minister  to  Prussia,  conceived 
the  same  plan.  He  gives  an  account  of  his  translation  of  Oberon 
in  a  letter  addressed  to  Charles  Pollen,  dated  October  24,  1831  '} 

"  Thirty  years  have  passed  away  since  a  residence  of  four 
years  at  Berlin,  and  excursions  into  Saxony  and  Silesia,  had 
given  me  an  enthusiastic  relish  for  German  literature.  At 
that  time,  Wieland  was  there  I  think  decidedly  the  most 
popular  of  the  German  poets,  and  although  there  was  in  his 
genius  neither  the  originality  nor  the  deep  pathos  of  Gothe,  or 
Klopstock,  or  Schiller,  there  was  something  in  the  playfulness  of 
his  imagination,  in  the  tenderness  of  his  sensibility,  in  the  sunny 
cheerfulness  of  his  philosophy,  and  in  the  harmony  of  his  versi- 
fication, which,  to  me,  were  inexpressibly  delightful." 
"  Among  my  exercises  in  learning  the  German  language,"  was 
a  complete  translation  into  English  verse  of  his  '  Oberon,' 
which  I  should  have  published,  but  that  Mr.  Sotheby  got  the 
start  of  me.  When  I  saw  his  translation,  I  was  content  to  keep 
mine  in  my  porte-feiiille.  My  German  teacher  sent  a  copy  of 
the  first  canto  of  my  translation  to  Wieland  himself,  and  asked 
him  his  opinion  of  it,  which  he  gave  with  frankness.  He  com- 
pared it  with  Sotheb>'s  translation,  then  just  published,  and 
gave  the  palm  of  poetry  to  him,  and  of  fidelity  to  me  ;  a  decision 
which  my  own  judgment  fully  confirmed." 

The  poem  then  proceeds  to  tell,  how  Molly  is  visited  by  the  ghost  of  Thomas, 
the  gardener,  her  deceased  lover.  He  had  fallen  into  the  well,  was  drowned, 
and  is  now  a  water  spirit.  He  carries  off"  Molly  and  plumps  her  in  the  well. 
That  the  parody  is  directed  against  Biirger's  Lenore  is  clear. 

•  71^1?  Works  of  Charles  Follen,  Boston,  1S42,  Vol.  I,  pp.  306,  307. 

2  Adams  speaks  of  his  German  studies  in  his  diary.  Cf.  Memoirs  of  John 
Quincy  Adams,  edited  by  Charles  F.  Adams,  Vol.  I,  pp.  217,  225. 


Frederick  H.  Wilkens.  45 

While  it  thus  came  about  that  the  Oberon  of  Wieland  was 
published  in  an  English  translation,  not  in  the  version  that  the 
American  statesman  had  made,  there  was  no  reason  why- 
Sotheby's  translation  should  not  be  republished  in  America.  A 
reprint  appeared  at  Newport,  R.  I.,  in  18 10  (No.  145).  It  was 
not  a  simple  reprint.  An  anonymous  American  editor^  had 
added  a  lengthy  preface,  which  contains  the  highest  praise  of 
the  poem  and  poet.  We  will  quote  at  some  length  from  this 
preface,  which  is  written  in  the  elaborate  style  that  character- 
izes the  cultured  American  of  the  early  part  of  our  century. 
We  will  smile  at  the  vast  prospects  of  Wieland's  future  fame, 
which  the  editor  unfolds  to  us  with  the  fervor  of  the  true 
visionary.  And  what  American  of  the  olden  times  did  not 
become  a  visionary  at  the  prospects  of  his  country  ? 

"  In  England  where  German  literature  is  perhaps  too  highly 
appreciated,  and  excessively  cultivated,  it  is  unnecessary  to 
declare  who  Wieland  was."  .  .  .  "  It  is  hardly,  however,  a 
matter  of  reproach,  or  regret,  that  we  are  authorized  in  presup- 
posing such  an  unacquaintance  with  German  literature,  in  this 
young  country,  as  to  conceive  it  indispensable  that  we  should 
prefix  to  an  American  edition,  something  to  attract  attention, 
and  interest  curiosity  in  relation  to  the  extraordinary  character 
and  transcendent  merit  of  the  German  poet :  enough  merely  to 
evince  to  the  public,  that  we  solicit  their  favor  to  an  undertak- 
ing that  deserves  it."  The  editor  then  gives  a  glowing  account 
of  the  court  of  Weimar,  bestows  the  highest  praise  on  Wieland's 
Agathon  and  Oberon^  but  not  without  censuring  his  attitude 
toward  the  French  Revolution.  He  proceeds  :  "  We  have  intro- 
duced an  epic  poet  with  proud  pretensions  in  a  country  where 
he  is,  in  a  great  degree,  a  stranger ;  and  it  is  natural  that  on  such 


» According  to  the  Providence  Athencctim  Library  Catalogue,  1853,  p.  433, 
the  Hon.  William  Hunter,  the  acknowledged  leader  of  the  Newport  bar,  was 
the  anonymous  editor.  There  seems  no  reason  to  doubt  this  assertion.  (Cf. 
about  Hunter  Appleton's  Cyclopedia  of  American  Biography,  G.  C.  Channing, 
Early  Recollections  of  Newport,  R.  /.,  Boston,  1868,  pp.  1 19-120,  F.  Moore, 
American  Eloquence,  Vol.  II,  pp.  335-336. ) 


46  Early  Injiuejice  of  German  Literature  in  America. 

an  occasion  curiosity  should  be  busy  in  inquiry."  The  excel- 
lence of  Sotheby's  translation,  he  states,  is  recognized  by  Wie- 
land  in  the  Annual  Register  for  1798.  "  If  a  brother  bard,  on 
the  first  appearance  of  Obero?i^  had  predicted  its  splendid  for- 
tunes and  ventured  to  announce,  that  even  in  the  life  of  its 
author  it  would  be  praised  and  admired,  not  only  in  every 
existing  European  nation  but  also  in  the  embryo  republic  of  the 
new  world,  it  would  have  beeu  regarded  as  an  effusion  too 
adulatory  for  friendship,  and  too  extravagant  for  poetry.  But 
all  this  is  realized.  The  fame  of  Wieland  is  as  widespread  as 
that  of  Horace,  and  its  permanence  as  finally  identified  with 
literature  itself.  Both  of  these  poets,  perhaps,  have  the  best 
security  for  their  future  glory  in  the  rapid  progress  and  improve- 
ment of  this,  the  freest,  and  such  we  hope  destined  to  be,  the 
most  literate  and  enlightened  country  of  the  world." 

This  edition  was  reviewed  in  the  Monthly  Anthology.^  I 
quote  only  a  few  remarks  in  regard  to  the  work  itself :  "  We 
should  do  an  injustice  to  the  author  and  translator,  if  we  should 
select  any  passages  from  the  Oberon^  for  its  execution  is  so 
remarkably  equal,  that  the  reader  finds  no  prominent  beauties 
or  blemishes."  "  In  his  Oberon  he  seems  to  have  designed  a 
poem  in  which  he  could  concentrate  all  his  mental  energies, 
and  unite  the  prominent  beauties  of  the  different  kinds  of 
writing  in  which  he  excels."  "  Its  general  character  is  rather 
seductive  and  fascinating  than  great  or  magnificent.  It  consists 
of  a  tissue  of  incidents,  which  Wieland  has  connected  and 
arranged  with  such  admirable  skill  as  to  form  one  of  the  most 
interesting  stories  in  any  language.  He  seldom  attempts  the 
sublime  or  terrible,  and  when  he  does  he  totally  miscarries,  for 
he  immediately  falls  into  an  imposing  and  gigantick,  rather  than 
natural  train  of  thought.  He  is  more  successful  in  description 
than  in  dialogue.  Like  the  machinery  of  his  poem,  he  seems 
to  operate  by  enchantment."     .     .     .     "  Yet  amidst  these  occa- 


>  The  Monthly  Anthology    and  Boston   Review,    Boston,    Vol.    IX,    1810, 
pp.  191-194. 


Frederick  H.   Wilkens.  47 

sional  defects  the  spirit  of  poetry  shines  forth  with  surpassing 
splendour,  and  the  Oberon^  considered  as  a  whole,  exhibits  an 
exuberance  of  imagination,  unparalleled  in  modern  poetry." 

The  publication  of  Wieland's  Oberon  at  Newport  is  possibly 
responsible  for  the  following  unfavorable  remarks  by  an 
anonymous  critic  in  the  General  Repository  aiid  Review}  He 
praises,  for  its  harmony  of  versification,  Sotheby's  translation 
of  Oberoii^  "  which,  though  beautiful,  has  been  extravagantly 
overrated."  *'  But  we  are  not  disposed  to  give  very  high 
applause  to  the  writer  [Sotheby] ,  who  has  made  accessible  and 
grateful  to  the  English  reader  a  poem,  discovering  a  taste 
egregiously  faulty,  and  whose  boasted  excellence  of  moral  is 
more  than  counterbalanced  by  the  seducing  wantonness  of  its 
descriptions." 

We  add  one  more  opinion  about  Wieland,^  expressed  in  a 
somewhat  youthful  and  extravagant  manner  by  Joseph  Story, 
later  eminent  as  a  jurist  : 

"  Wieland,  the  darling  of  the  German  muses,  by  turns  sweet, 
affecting,  magnificent,  sublime,  commanding,  terrible  :  the 
favorite  of  fancy,  to  whom  she  unveiled  her  most  beautiful 
forms,  drest  in  the  voluptuousness  of  the  loves,  and  the  trans- 
lucent snow  of  the  graces.  His  works  nee  Jovis  ira,  nee  ignis, 
nee  poterit  ferrum,  nee  edax  abolere  retustas." 

These  opinions  about  Wieland's  Oberon  give  us  an  idea  what 
a  charm  he  exerted  over  his  contemporaries,  nor  is  that  charm 
quite  lost  even  at  the  present  day.  But  we  have  long  ago 
learned  to  look  on  Wieland  only  as  a  promise  of  greater  things 
to  come,  the  poetic  master  works  of  Goethe  and  Schiller, 
which  have  replaced  all  earlier  efforts  in  the  esteem  of  the 
critical  reader.  These  works  were  not  absolutely  unknown, 
but  the  standard  by  which  they  were  to  be  measured  had  not 
yet  been  discovered.  In  1805  there  appeared  in  Richmond  a 
reprint  of  Holcroft's    translation   of   Goethe's   Hermann  und 

»  The  Geiieral  Repository  and  Review,  Cambridge,  Mass.,  Vol.  I,  1812,  p.  411. 
The  article  is  attributed  to  C.  Elliot. 
*  Joseph  Story,  The  Power  of  Solitude,  a  poem,  Salem,  1804,    (Note  IV.) 


48  Early  Influence  of  German  Literature  in  America. 

Dorothea  (No.  loS).  The  true  appreciation  of  this  one  poem 
would  have  been  equivalent  to  a  full  insight  into  the  nature  of 
Goethe's  poetry.  But  we  cannot  assume  anything  of  the  kind. 
It  was  perhaps  regarded  somewhat  on  a  level  with  Gessner's 
Idylls.  Nevertheless  it  remains  one  of  the  most  interesting 
reprints  in  our  list.  Some  of  Goethe's  best  known  poems,  the 
Erlking  and  Fisherman.,  and  Biirger's  Leiiora  and  Wild  Hunts- 
nia?i^  were  also  published  in  Lewis'  Tales  of  Wonder^  which  is 
sufficient  to  show  in  what  light  they  were  viewed  by  Lewis. 

German  Philosophy,  Theology,  and  Pedagogy. 

The  title  adopted  for  this  chapter  might  lead  to  misunder- 
standings unless  qualified  by  certain  statements.  A  comprehen- 
sive consideration  of  German  theology,  philosophy,  and  pedagogy 
in  America  would  lie  entirely  outside  the  limits  of  our  investi- 
gation. But  it  seemed  desirable  to  consider  under  this  heading 
a  number  of  authors  whose  works  lie  on  the  border  line  between 
literature  and  the  disciplines  mentioned,  or  whose  works  can  be 
considered  as  having  some  relation,  direct  or  indirect,  with  new 
developments  in  the  literary  culture  of  our  country. 

One  of  the  most  interesting  traces  of  an  early  influence  of 
German  literature  is  the  popularity  evidently  enjoyed  by  the 
small  book  known  as  Lavater's  Aphorisms.  It  is  curious  to 
contemplate  this  collection  of  effusions,  bearing  so  clearly  the 
impress  of  the  Sturm  tend  Drang^  create  for  itself  in  distant 
America  a  large  circle  of  readers.  At  least  four  early  American 
editions  of  this  work  were  printed,  three  of  them  in  1790  (Phila- 
delphia, Boston,  New  York),  one  in  1793.^  Often  such  duplication 
of  prints  in  various  places  was  due  to  the  disorganized  condition 
of  the  American  book  trade,  and  the  imperfect  means  of  com- 
munication, which  restricted  prints  to  a  local  circulation  to  an 
extent  that  is  unintelligible  to  us  at  the  present  day.  But  we 
may  assume  even  for  this  earlier  period  the  same  peculiarity 

*  Reprinted,  New  York,  1801.     (No.  79.) 
»No.  14,  15,  16,  21. 


Frederick  H.   Wilkens.  49 

that  is  so  characteristic  of  American  life  in  our  century,  namely, 
that  public  attention,  once  aroused  in  regard  to  any  subject,  con- 
centrates itself,  for  a  time,  in  that  direction.  This  may  not  be 
proof  of  a  deep  and  critical  appreciation,  but  it  shows  an  intel- 
ligent interest  in  whatever  happens  to  engage  general  atten- 
tion at  the  time.  Thus  much  that  is  bad  and  indifferent,  thus 
much,  also,  that  is  of  the  best  has  floated  in  on  the  current  of 
present  popularity,  no  matter  what  may  first  have  given  a  start 
to  the  movement.  How  the  Aphorisms  continued  in  vogue,  at 
least  in  New  England,  is  shown  by  the  Newburyport  print  of 
1793,  which  would  not  have  been  issued  if  the  Boston  print  had 
not  sold  well.  That  Lavater's  Aphorisms  were  not  forgotten  is 
proved  by  the  fact  that  they  are  used  for  two  decades,  to  fill, 
here  and  there,  an  empty  corner  of  the  page  in  the  periodicals 
of  the  time.     They  were  stray  grains  of  golden  wisdom. 

The  unabridged  editions  of  Layater's  Physiognomy  were  too 
large  and  expensive  to  tempt  an  American  printer ;  they  were 
imported  from  England  when  desired  by  American  libraries  or 
readers.  But  an  abridgment  of  Holcroft's  translation  was  re- 
printed at  Boston  (No.  106).  Through  his  Aphorisms  and  his 
Physiognomy^  Lavater  became  widely  known  in  England  and 
America,  and  not  infrequently  reference  is  found  in  American 
magazines  to  his  physiognomical  theories.  This  popularity 
gave  weight  to  a  pamphlet  of  a  political  nature  more  than  a 
literary  one,  his  Remonstrances^  addressed  to  the  Executive 
Directory  of  the  French  Republic^  against  the  hivasion  of  Switz- 
erland^ which,  originally  printed  in  London,  was  reprinted  at 
New  York  in  1799.^ 

Soon  after  Lavater's  Aphorisms  the  work  of  another  Swiss 
author  gained  in  the  transatlantic  republic  such  a  foothold  that 
the  work  may  be  said  to  have  been  in  America,  as  in  England, 
"  one  of  the  few  foreign  books  that  became  really  popular 
during  the  last  century."     Zimmermann's  book  on  Solitude  was 


'  lyondon  printed.     New  York:  reprinted  by  John  Tiebout  (Homer's-head), 

No.  358  Pearl-street,  1799. 


50  Early  Influence  of  German  Literature  in  America. 

first  reprinted  in  America  in  1793  and  only  disappeared  from 
the  book  market  in  comparatively  recent  times.  We  have 
counted  ten  editions  (cf.  index)  during  the  period  which  we 
have  under  consideration..  The  version  of  Zimmermann's  Soli- 
tude that  was  popular  in  America  in  reprints  was  not  a  direct 
translation  from  the  German,  but  a  translation  from  the  French 
adaptation  of  Mercier,  who  had  confined  himself  to  the  portion 
of  the  original  treating  of  the  advantages  of  solitude  and  made 
changes  even  there.  The  portion  treating  of  the  disadvantaj[es_ 
of  solitude,  which  had  been  published  in  England  as  a  supple- 
ment to  the  part  already  jjublished,  was  seldom,  if  ever,  reprinted 
during  our  period. 

In  Zimmermann's  book  we  have  something  like  the  reign  of 
sensitiveness  instead  of  the  usual  sensibility.  The  instinctive 
shrinking  of  a  sensitive,  perhaps  somewhat  conceited  nature 
from  contact  with  the  external  word  is  perceptible  on  every 
page,  although  we  do  not  wish  it  to  be  inferred  from  these  re- 
marks that  Zimmermann  did  not  adequately  express  much  of  the 
best  thought  on  the  subject  of  which  his  work  treated.  In  the 
popularity  of  his  book  in  America  we  have  another  example 
how  the  sometimes  shrinking,  sometimes  self-assertive  individ- 
ualism, which  is  so  peculiar  to  Germany  during  the  last  century, 
found  a  certain  response  in  a  civilization  where  the  attitude  of 
society  towards  the  individual,  and  the  individual  towards 
society,  has  developed  a  far  more  self  dependent  and  less  sensi- 
tive type  of  character.  The  popularity  of  Lavater's  Aphorisms 
presents  a  parallel  case,  perhaps  still  more  interesting. 

Zimmermann  had  been  introduced  to  the  American  public 
many  years  before  by  a  Philadelphia  reprint  (1778,  No.  7)  of  his 
Strictures  on  National  Pride  {Vom  Nationalstolse).,  a  readable 
book  on  national  prejudices  and  failings.  It  appears  that  the 
two  Swiss  authors  Gessner  and  Zimmermann  were  the  only  rep- 
resentatives of  German  literature  whose  works  were  reprinted  in 
America  during  revolutionary  and  colonial  times.  A  more 
reliable  translation  appeared  later  (reprinted,  New  York,  1799), 
at  a  time  when  Zimmermann's  name  had  become  famous  through 
his  Solitude. 


Frederick  H.  Wilkens.  51 

In  this  connection  a  reprint  of  Knigge's  Practical  Philosophy 
of  Social  Life  ( Uber  den  Umgang  mil  Menschett)  (No.  109)  might 
be  mentioned, 

A  number  of  translations  from  the  German  have  received  a  place 
in  the  "  List  of  Translations,"  although  they  belong  rather  to  the 
field  of  pedagogy.  There  is  some  justification  in  considering 
them  inasmuch  as  they  are  children's  literature.  They  were,  how- 
ever, rather  included  on  account  of  the  humanitarian  spirit  of  the 
German  "  Aufklarung,"  with  which  they  glow,  and  as  interest- 
ing predecessors  of  the  more  technical  pedagogical  literature 
which  came  from  Germany  at  a  later  period. 

The  most  interesting  of  these  is  Salzmann's  Elements  of 
Morality  {Moralisches  Ele7nentarbilchlein\  translated  by  the 
well-known  Mary  Wollstonecraft.  It  was  reprinted  three  or 
four  times  about  1795,  and  again  about  1811  (cf.  index). 
Incidents  of  child  life  are  used  as  a  vehicle  for  moral  instruction. 
Campe's  stories,  Cohimbns^  Cortez^  Pisarro^  and  especially  the 
New  Robinson  Crusoe  were  reprinted  (cf.  index).  They  con- 
tain history  and  fiction  adapted  so  as  to  serve  as  moral  and 
educational  food  for  youthful  minds.  We  also  mention  again 
in  this  connection  Pestalozzi's  Leonard  and  Gertrude  (No.  80).^ 

Among  the  theological  works  which  we  are  justified  in  men- 
tioning here  those  seem  the  most  interesting  which  can  be 
regarded  as  a  connecting  link  between  Gennan  rationalism  and 
the  Unitarian  movement  of  New  England.  It  is  principally 
from  this  point  of  view  that  we  have  taken  into  our  translations 
the  works  of  the  German  divines  Zollikofer  and  Sturm.  Sturm's 
Refections  on  the  Works  of  God  was  a  work  which  was  extremely 

'  During  this  period  a  personal  acquaintance  with  German  pedagogues,  and 
an  intimate  knowledge  of  German  pedagogy,  was  prol)ably  extremel}'  rare  in 
America.  Of  J.  C.  Cabell,  who  co-operated  with  Jefferson  in  founding  the 
University  of  Virginia,  the  statement  is  made:  "  While  in  Switzerland  [between 
1803  and  1806],  he  visited  Yverdun,  and  on  conference  with  the  celebrated 
Pestalozzi,  and  examination  of  his  system,  he  was  so  much  struck  with  certain 
of  his  improvements  in  primary  instruction,  that  long  afterwards  he  sought  to 
have  them  naturalized  in  Virginia  "  (Jefferson  and  Cabell,  Early  Ilislory  o/the 
University  of  Virginia,  1856,  p.  xxix). 


52  Early  hijiiieyice  of  German  Literature  in  America. 

popular  in  England,  and  also,  although  perhaps  in  a  less  degree, 
in  America  (cf.  index).  A  New  England  divine,  Thaddeus  M. 
Harris,  of  some  eminence  in  his  day,  rearranged  the  English 
translation,  compressed  it,  added  to  it,  and  published  it  under 
the  title  Beauties  of  Nature  Delineated  (1801,  cf.  70).  The 
next  year  it  went  through  a  second  edition.  Of  Harris'  reli- 
gious convictions  the  following  statement  is  made:  "In  his 
theological  opinions  he  belonged  to  the  early  liberal  school. 
The  spirit  of  the  Gospel,  its  lessons  for  the  heart  rather  than 
the  speculative  reason,  its  obligations,  its  comforts,  its  divine 
assurances,  were  to  him  the  believer's  great  concern."*  The 
nature  of  the  book  was  such  that  it  was  acceptable  to  both  liberal 
and  orthodox  thought.^ 

The  popularity  of  the  sermons  of  Zollikofer,  a  notable  repre- 
sentative of  the  extremest  type  of  rationalism,  is  more  interest- 
ing. It  is  not  astonishing  that  all  of  these  (with  the  exception 
of  a  small  pamphlet  containing  two  sermons.  No.  175)  were 
published  in  the  bailiwick  of  Unitarianism,  in  Massachusetts.  T. 
M.  Harris,  whose  name  has  just  been  mentioned,  made  an 
abridgement  of  one  of  the  English  translations,  called  Exercises 
of  Piety  ^  which  had  two  editions  (1803,  No.  loi).  Zollikofer 
was  the  leading  representative  of  German  pulpit  eloquence 
known  in  England  and  America,  although  his  effusive  style 
was  not  to  everybody's  taste,  apart  from  the  dissent  which  his 
theological  views  might  excite.  The  Montlily  Anthology^ 
reviewing  his  Seven  Sermons  on  the  Reformation^  says  :^  "  We 
have  hitherto  been  accustomed  to  value  Zollikofer  chiefly  for 
his  simple  and  practical  views  of  religion,  and  the  gentle  and 
insinuating  eloquence  with  which  he  recommends  them.    These 


'N.  K.  Frothingham,  Memoirs  of  T.  M.  Harris,  Massachusetts  Historical 
Society  Collections,  4  S.,  Vol.  II,  p.  13. 

*The  Rev.  Samuel  Knox,  An  Essay  on  the  Best  System  of  Education,  Balti- 
more, 1799,  p.  107,  proposes  that  a  selection  from  the  book  be  read  every  morn- 
ing to  impress  the  pupils  with  feelings  of "  reverence  of  the  Deity,  of  his 
government  of  the  world,"  etc. 

3  The  Monthly  Anthology  and  Boston  Review,  Vol.  VI,  1809,  p.  181. 


Frederick  H.  Wilkens.  ,        53 

sermons  on  the  Reformation  are  written  with  more  vigour  and 
compression  of  thought  than  we  have  thought  him  capable  of." 
A  translation  of  Jung-Stilling's  Scenes  in  the  World  of  Spirits 
(No.  163)  by  Gottlieb  Shober/  of  Salem,  N.  C,  is  interesting  as 
being  probably  the  earliest  translation  into  English  of  one  of 
Jung-Stilling's  works.  The  translation  is  a  proof  of  the  attraction 
which  mysticism  had  for  many  of  the  Germans  of  America. 
Haller's  Letters  to  his  Daughter  on  the  Truths  of  the  Christian 
Religion  was  an  orthodox  defence  of  the  Christian  religion  that 
derived  weight  from  the  eminence  of  its  author.  It  was  reprinted 
at  New  Haven  (No.  92).  We  should  not  forget  in  this  connec- 
tion the  Rev.  J.  C.  Kunze,  who,  to  make  the  German  hymns 
accessible  to  American  readers,  published  a  collection  of  them 
translated  into  English.^  As  I  have  not  seen  a  copy  of  the  book 
I  quote  the  words  of  Dr.  Francis  about  the  same:  "With  assist- 
ance Dr.  Kunze  prepared  a  collection  of  hymns,  translated  into 
English  :  they  were  the  most  singular  specimens  of  couplets 
and  triplets  I  ever  perused,  yet  they  possessed  much  of  the 
intensity  and  spiritualism  of  German  poetry.  This  was  in  the 
fall  of  1795." 

Review. — New  Developments. 
The  General  Repository  ajid  Review^  Cambridge  (Mass.),  one 
of  the  early  periodicals  indicative  of  the  growing  intellectual 
culture  of  Boston,  contains  an  anonymous  review  of  Musaens' 
Popular  Tales}  After  giving  some  specimens  of  these  tales,  and 
stating  how  these  tales  were  collected  the  reviewer  proceeds : 
"We  have  so  few  translations  from  the  German,  that  a  knowl- 
edge of  it  is  the  only  medium  of  getting  access  to  the  immense 
stores  of  science  and  literature  contained   in  it.     Our  politics 

iCf.  about  Shober  the  Cyclopedia  of  American  Biography. 

''J.  W.  Francis,  Old Nexv  York,  1858,  p.  45.  The  full  title  as  made  up  from 
this  source  and  M.  D.  Learned,  Opening  of  the  Bechstein  Library,  1896,  p.  46, 
would  seem  to  be:  A  Hymn  and  Prayer-book  for  the  use  of  such  Lutheran 
Churches  as  use  the  English  Language.  Published  by  Ilurtin  &  Commard- 
inger.     New  York  :  John  Tiebout,  1795.     12°. 

'In  Vol.  IV,  1812,  pp.  91-105. 


O 


54  Early  bijlueyice  of  German  Literature  in  America. 

have  led  ns  to  turn  our  eyes  so  exclusively  on  France  and 
England,  that  we  hardly  realize  the  existence  of  any  other 
nations  in  Europe.  Yet,  however  absurd  and  heretical  it  may 
seem  in  an  American  to  insinuate  the  possibility  that  any  other 
people  should  ever  pretend  to  a  rivalry  with  those  two  great 
countries,  on  whose  prejudices  our  parties  are  made  to  hinge,  it 
is  not  to  be  disguised,  that  the  Germans  themselves  entertain  very 
different  notions  on  the  subject.  They  not  only  lay  claim  to  a  com- 
parison with  the  other  nations  in  Europe,  but  they  actually  think 
themselves  entitled  to  assert  the  very  first  rank."  The  reviewer 
then  recalls  the  ancient  importance  of  the  German  Empire, 
glorifies  the  Reformation,  asserts  the  pre-eminence  of  Germany 
in  all  the  domain  of  philosophy  in  its  most  extended  sense 
("with  the  single  exception,  perhaps  of  the  claims  of  France  to 
pre-eminence  in  physics  ")  and  advises  his  countrymen  to  study 
German,  which  he  hopes  will  exert  a  favorable  influence  on  the 
English  language.  He  next  proceeds  :  "  The  German  language 
is  particularly  rich  in  that  department  of  literature,  which 
generally  holds  out  the  greatest  attractions  to  the  student  of 
foreign  languages,  viz — poetry  and  belles  lettres.  In  theatrical 
writing,  for  instance,  which  in  France  and  England  seems  to 
be  among  the  lost  arts,  German  literature  is  overflowing  with 
excellent  productions  of  living,  or  just  deceased  authors — 'that 
rival  all,  but  Shakespeare's  name,  below.'  To  prove  this  asser- 
tion it  is  suSicient  to  mention  the  names  of  Schiller,  Goethe, 
Kotzebue,  and  Lessing.  Garbled  and  miserable  translations, 
and  imitations,  or  rather  caricatures  of  them,  have  been  the 
stay  and  staff  of  the  English  stage  for  twenty  years.  Every- 
thing may  be  ridiculed,  and  party  spirit  has  found  it  within 
the  scope  of  its  policy  to  ridicule  the  German  theatre."  He 
finally  states  that  the  difficulties  of  learning  German  are  not  as 
insurmountable  as  they  are  generally  supposed  to  be. 

These  statements  may  seem  commonplace  to  us,  because  not 
only  the  scholar's  estim.ate  of  German  culture,  but  also  public 
opinion  on  this  subject  has  long  become  fixed.  It  was  a  bold 
and   unique  statement   for   the   times,  and  has  therefore   been 


Frederick  H.   Wilkens.  55 

placed  at  the  head  of  the  chapter  in  which  we  are  about  to 
take  leave  of  the  subject  of  early  influence  of  German  liter- 
ature in  America.  A  manifesto  like  this  marks  indeed  a  new 
departure.  Few  even  in  England  would  have  dared  to  weigh 
German  culture  on  equal  balance  with  French  and  English 
culture. 

The  anonymous  writer  of  this  article  was  Alexander  Hill 
Everett/  a  man  of  great  merits,  though  not  as  well  known  as  his 
brother,  Edward  Everett.  He  had  probably  studied  German 
while  he  was  associated  with  John  Quincy  Adams  in  St.  Peters- 
burg, where  German  influence  was  strong  and  the  study  of  the 
language  and  literature  could  be  pursued  under  the  most 
favorable  conditions.^ 

The  review  is  interesting,  however,  from  another  point  of 
view.  It  emphasizes  the  fact  that  impresses  itself  readily  on 
any  one  who  has  engaged  in  a  study  of  the  period.  French  was 
at  that  time  the  only  foreign  language  taught  and  studied  in 
America,  where  French  grammars,  French  texts,  and  bilingual 
texts  in  English  and  French  were  printed  in  not  inconsiderable 
numbers.  The  history  of  French  influence  is  well  known. 
Dating  back  to  the  fellowship  in  arms  during  the  Revolutionary 
War,  becoming  a  powerful  political  factor  during  the  French 
Revolution,  it  continued  such  for  a  long  time,  in  the  way  hinted 
at  by  Hill.  Even  apart  from  these  considerations,  the  estab- 
lished reputation  of  France  as  the  home  of  good  taste  and  the 
brilliancy  of  its  intellectual  life  and  literature  would  have  given 
it  a  position  that  could  not  easily  be  assailed. 

There  was  an  earlier  time  when  the  great  Frederick  was  the 
most  popular  person  in  this  country,  when  the  French  were 
hated  enemies,  and  native  poets  celebrated  the  glorious  victory 
of  Rossbach.     Making  due  allowance  for  the  overstrained  and 

^  The  article  was  republished  in  \i\sCritical and  Miscellaneous  Essays,  Second 
Series,  Boston,  1846,  pp.  30-144. 

'■'The  United  States  Magazine  and  Democratic  Review,  New  York,  Vol. 
X  (N.  S. ),  1842,  p.  461,  states  that  he  studied  at  St.  Petersburgh,  among  other 
things,  the  modern  languages. 


\ 


56  Early  hifiuence  of  German  Literahire  in  America. 

inflated  language  of  the  period,  we  cannot  but   feel   that  the 
poet's  heart  is  in  such  effusions  as  these  :  ^ 
The  Royal  Comet. 

Mistaken  astronomers,  gaze  not  so  high; 

The  comet  foretold  is  not  yet  in  the  sky. 

It  shines  here  on  earth,  though  departed  from  Heaven, 

And  remarkably  flam'd  last  year — fifty-seven: 

In  Woden's  bold  figure,  three  thousand  years  past, 

O'er  ancient  Germania  its  lustre  it  cast: 

Next  wearing,  Arminius,  thy  form,  it  returned: 

And  fatal  to  Rome's  blasted  regions  it  burned. 

Now,  attended  with  all  the  thunders  of  war. 

Our  Prussia's  great  Frederick  is  that  great  Blazing  Star, 

Heaven's  proxy  to  nations  oppressed,  but  a  sign 

To  tyrants  he  comes  of  the  vengeance  divine. 

Another  specimen  from  the  same  poem  : 

O'er  ocean  from  Europe  his  influence  hurled. 
Shall  animate  here,  O  George,  thy  New  World. 
Our  laws,  our  religion,  our  rights  he  befriends. 
And  conquests  o'er  savage  invaders  portends. 

These  remarks  may  not  seem  very  relevant  to  our  subject,  but 
they  afford  us  an  opportunity  of  pointing  out  the  importance 
which  Frederick's  international  reputation  had  in  increasing 
the  esteem  in  which  the  German  nationality  was  held.  During 
the  whole  eighteenth  century  Frederick  the  Great  remains 
probably  the  best  known  and  most  celebrated  person  of  foreign 
birth  in  the  estimation  of  America,  and  if  any  American 
attempted,  as  sometimes  happened,  to  eulogize  the  German 
nationality  or  praise  their  literature,  he  never  neglected  to  refer 


1  The  American  Magazine  and  Monthly  Chro7ticle  for  the  British  Colonies, 
Vol.  I,  1757-58,  p.  551.  These  lines  are  by  the  Rev.  James  Sterling  of  Kent 
County,  Md.  More  such  poetry  may  be  found  pp.  240,  280.  F.  Kapp,  Fried- 
rich  der  Grosse  und  die  Vereifiigten  Staaten,  Leipzig,  1871,  p.  11,  gives  further 
proofs  of  Frederick's  popularity  in  the  American  colonies. 


Frederick  H.  Wilkens.  57 

his  readers  to  the  possibilities  latent  in  a  people  that  had  pro- 
duced such  a  hero  as  Frederick  the  Great. 

One  great  obstacle  to  German  studies  and  a  true  appreciation 
of  German  civilization  was  the  remoteness  of  the  country  from 
America.  Few  American  travelers  visited  Germany.  England 
and  France  were  usually  the  goal  of  their  ambition.  If  an 
American  touched  German  soil  it  was  usually  as  a  traveler 
along  the  course  of  the  Rhine,  on  his  way  from  the  rich  and 
important  Netherlands  to  France.^  It  is  needless  to  say  that  it 
was  impossible  to  gain  an  impression  of  German  life  during 
such  a  short  trip  in  one  of  the  least  progressive  parts  of  Ger- 
many, the  territory  of  the  bishop  electors.  When  Aaron  Burr 
visited  Weimar  in  1810,  he  found  that  the  only  Americans 
known  there  were  Poinsett  [J.  R.  Poinsett]  and  a  Mr.  Smith, 
both  from  South  Carolina.^  A  great  contrast  with  the  number 
of  Americans  who  later  visited  Weimar ! 

John  Quincy  Adams,  having  enjoyed  the  privilege  of  a  resi- 
dence in  Germany,  besides  being  a  man  of  high  culture  and 
literary  tastes,  may  perhaps  be  regarded  as  the  father  of  German 
studies  in  America,  such  as  we  have  learned  to  identify  with 
the  highly  respectable  culture  of  New  England.  The  account 
he  gives  of  his  journey  in  Silesia  shows  a  most  sympathetic 
attitude  towards  the  German  people.  He  says  of  them  -."^  "  In 
the  manners  and  conversations  of  these  persons,  upon  the 
whole,  we  found  a  frankness,  a  cordiality  and  good  nature  truly 
republican,  or  which  at  least  I  love  to  consider  as  such.  They 
speak  with  openness  and  freedom  of  their  own  government, 
which  they  praise  and  blame  according  as  they  think  it  deserves." 
Of  course  we  do  not  wish  to  give  the  impression  that  John 
Quincy  Adams  was  the  only  American  who,  while  living  abroad, 
considered  it  worth  his  while  to  study  German.  But  there  were 
certainly  only  few  exceptions  to  our  statement  that  German  was 

1  JeflFerson  made  this  trip.  (Cf.  Writings  of  Thomas  Jefferson,  ed.  by  H. 
A.  Washington,  New  York,  1859,  Vol.  IX,  pp.  37S-395.) 

2  The  Private  Journal  of  Aaron  Burr,  New  York,  1858,  p.  389. 
'J.  Q.  Adams, ybwrwo*  ^o  Silesia,  London,  1804,  p.  22. 


58  Early  Influence  of  German  Literature  in  America. 

not  studied  by  Americans  during  the  end  of  the  last  and  begin- 
ning of  our  centur3\^ 

The  difficulties  that  beset  the  student  who  was  ambitious  of 
acquiring  the  German  language  at  Boston  about  the  year  1813, 
are  described  by  Ticknor  in  a  most  amusing  fashion.  He  says, 
speaking  of  his  own  experience  •?■  "  The  first  intimation  I  ever 
had  on  the  subject  [excellence  of  German  Universities]  was 
from  Mme.  de  Stael's  work  on  Germany,  just  then  published.' 
My  next  came  from  a  pamphlet,  by  Villers,  to  defend  the  Uni- 
versity of  Gottingen  from  the  ill  intentions  of  Jerome  Bona- 
parte, the  King  of  Westphalia,  in  which  he  gave  a  sketch  of 
the  University  and  its  courses  of  study.  My  astonishment  at 
these  revelations  was  increased  by  an  account  of  its  library, 
given,  by  an  Englishman  who  had  been  at  Gottingen,  to  my 
friend,  the  Rev.  Samuel  C.  Thacher.  I  was  sure  that  I  should 
like  to  study  at  such  a  university,  but  it  was  in  vain  that  I  en- 
deavored to  get  further  knowledge  upon  the  subject.  I  would 
have  gladly  prepared   for  it  by  learning  the  language  I  should 

1  Joel  Barlow,  the  poet,  seems  to  have  known  German  (Cf.  C.  B.  Todd,  Life 
and  Letters  of  Joel  Barlozv,  1886,  p.  274.),  and  Gouverneur  Morris  tells  us  in  his 
diary  how  he  took  up  the  study  of  the  language. 

"^  Life  and  Letters  of  George  Ticknor,  Boston,  1876,  Vol.  I,  p.  11. 

'An  American  reprint  of  the  English  translation  (1813)  appeared:  Germany, 
by  the  Baroness  Stael  Holstein,  3  vols,  in  2,  New  York,  Eastburn,  Kirk  &  Co., 
1814. 

In  speaking  of  this  important  source  of  information  for  the  history  of 
German  literature,  it  would  be  unfair  to  pass  in  silence  the  older  work 
of  an  American  author,  which  devotes  a  large  share  of  attention  to 
German  literature.  I  mean  Samuel  Miller's  Brief  Retrospect  of  the 
Eighteenth  Century,  New  York,  T.  and  J.  Swords,  1803.  I  quote  a  sample: 
"  So  many  interesting  works  in  literature  and  science  have  been  published  in 
Germany  .  .  .  that  the  acquisition  of  the  language  seems  now  to  be  re- 
garded by  the  literati  of  Europe  as  of  equal  importance  with  that  of  the  French 
and  English"  (p.  113).  It  is  not  possible  to  quote  the  many  sympathetic 
notices  which  he  accords  to  German  writers.  I  quote  as  a  curiosity  a  remark 
about  Faust:  "  The  Faust  of  the  celebrated  Goethe  of  Germany  occupies  a  high 
place  in  the  list  of  modern  satirical  writings." 

Dr.  Samuel  Miller  belongs  to  the  literary  circle  of  Dunlap  and  C.  B.  Brown. 
About  the  beginning  of  our  century  New  York,  more  than  any  other  place 
seems  to  have  shown  an  interest  in  German  literature. 


Frederick  H.  Wilkens.  59 

have  to  use  there,  but  there  was  no  one  in  Boston  who  could 
teach  me.  At  Jamaica  Plains  there  was  a  Dr.  Brosius,  a  native 
of  Strasburg,  who  gave  instructions  in  mathematics.  He  was 
willing  to  do  what  he  could  for  me  in  German,  but  he  warned 
me  that  his  pronunciation  was  very  bad,  as  was  that  of  all 
Alsace,  which  had  become  a  part  of  France.  Nor  was  it 
possible  to  get  books.  I  borrowed  a  Meidinger's  grammar, 
French  and  German,  from  my  friend  Mr.  Everett,  and  sent 
to  New  Hampshire,  where  I  knew  there  was  a  German  Dic- 
tionary, and  procured  it.  I  also  obtained  a  copy  of  Goethe's 
'  Werther '  in  German  (through  Mr.  William  S.  Shaw's  con- 
nivance) from  amongst  Mr.  J.  Q.  Adams'  books,  deposited  by 
him,  on  going  to  Europe,  in  the  Athenaeum,  under  Mr.  Shaw's 
care,  but  without  giving  him  permission  to  lend  then.  I  got  so 
far  as  to  write  a  translation  of  'Werther,'  but  no  farther."  The 
account  which  Ticknor  gives  of  the  diflEiculties  under  which 
German  studies  were  pursued  in  Boston,  about  the  year  1813, 
may  be  perfectly  true.  At  the  same  time,  we  have  good  infor- 
mation that  there  existed  a  demand  for  German  teaching  even 
before  this  period. 

Sydney  Willard  says,  speaking  of  a  period  preceding  by  a 
few  years  the  time  when  Ticknor  learned  German  •}  "  A  German 
Jew  by  name  of  Horwitz  came  to  Cambridge  and  remained  a 
year  or  more.  He  found  some  encouragement  as  a  teacher  of 
German.  I  studied  German  with  his  aid.  He  was  somewhat 
arrogant  in  his  pretensions,  but  could  justly  lay  claim  to  con- 
siderable learning  in  the  language  of  his  religion  and  of  the 
country  from  which  he  emigrated." 

Professor  Learned  has  given  an  account  of  the  introduction 
of  German  during  the  last  century,  as  a  medium  of  instruction, 
into  the  curriculum  of  the  University  of  Pennsylvania.^  As 
these  courses  were  intended  principally  for  the  Germans  of 
Pennsylvania  we  merely  refer  to  them  here,  as  they  lie  outside 


1  Sydney  Willard,  Memories  of  Youth  and  Manhood,  1855,  Vol.  II,  p.  145. 
'  Addresses  at  the  Opening  of  the  Bechstein  Library,  March  21, 1896,  pp.  37-50. 


6o  Early  Influence  of  German  Literature  in  America. 

the  scope  of  our  article.  Apart  from  this  there  seems  to  have 
been  no  regularly  appointed  instructor  of  German  in  any 
American  college  until  Follen  was  appointed  teacher  of  the 
German  language  at  Harvard  in  1826.  At  Amherst  College  an 
attempt  was  made  in  1826  to  introduce  courses  in  the  modern 
languages,  parallel  to  the  courses  in  the  classical  languages/ 
German  was  taken  into  consideration  as  one  of  the  languages  of 
this  course.  The  experiment  proved  a  failure  and  in  1829  the 
parallel  courses  in  modern  languages  were  abolished.  It  also 
seems  probable  that  Blaettermann,  who  was  appointed  professor 
of  modern  languages  at  the  University  of  Virginia  in  1825,  gave 
instruction  in  German. 

Considering  the  great  similarity  which  exists  between  the 
Unitarian  movement  in  America  and  German  rationalism  it  is 
astonishing  to  notice  that  the  latter  seems  to  have  had  but  slight 
influence  on  the  former  during  the  end  of  the  latter  and  beginning 
of  our  century.  It  seems  strange  to  us  that  Channing  did  not 
apparently  know  "  that  a  great  number  of  Lutherans  thought 
with  him,"  of  which  fact  Follen  apprised  him;'  nor  can  the 
claims  of  German  philosophy  for  his  attention  have  been  very 
urgent,  if  it  needed  an  article  in  the  Edinburgh  Reviezv  on 
German  philosophy  to  arouse  his  desire  to  study  German 
(1829).''  ^^^^  Rev.  Convers  Francis  is  mentioned  among  the 
earliest  students  of  German,  and  German  theology,  in  this  coun- 
try.* He  became  the  teacher  of  Theodore  Parker.  While  we  are 
compelled  to  make  these  reservations,  it  is  nevertheless  true  that 
German  theology  was  best  known  in  New  England,  especially 
Boston,  about  which  fact  one  can  easily  inform  oneself  by  com- 
paring the  early  Boston  periodicals  of  a  serious  character  with 
those  from  other  parts  of  the  country.  We  have  already  referred 
to  the  popularity  which  Zollikofer's  sermons  enjoyed.  With  the 

HV.  S.  Tyler,  History  of  Amherst  College^  1873,  pp.  170-172. 
'  The  Wortis  of  Charles  Follen,  Boston,  1842,  Vol.  I,  p.  167. 
'  Ibid.,  p.  243. 

*  William  ^&^€i\,  Memoirs  of  the  Rev.   Convers  Francis.     {Massachusetts 
Historical  Society  Proceedings,  1S64-65,  p.  242.) 


Frederick  H.  Wilkens.  6i 

divines  of  other  sects  the  feeling  that  German  was  a  most  useful 
and  desirable  acquirement  seems  to  have  made  itself  felt  still 
less.  The  Rev.  S.  H.  Turner,  a  member  of  the  Episcopal 
Church,  who  is  mentioned  among  the  earliest  translators  of 
theological  works  from  the  German,  did  not  begin  to  acquire 
that  language  till  about  1825/ 

The  amount  of  attention  that  German  philosophy  received  in 
America  during  the  first  quarter  of  our  century  is  perhaps  most 
aptly  stated  in  the  words  of  James  Marsh,  president  of,  and 
later  professor  in,  the  University  of  Vermont  and  apparently 
one  of  the  earliest  students  in  America  of  German  philosophy. 
He  studied  German  in  1821,  and  in  the  course  of  his  studies 
"  began  to  consult  Kant's  Critique  of  Pure  Reason  then  a  perfect 
terra  incognita  to  American  scholars."" 

In  a  letter  addressed  to  S.  T.Coleridge  during  the  year  1829' 
he  states  that  the  works  of  Locke  were  formerly  much  used  in 
colleges,  but  that  now  the  Scotch  philosophers  had  taken  his 
place.  "  The  German  philosophers,  Kant  and  his  followers,  are 
very  little  known  in  this  country ;  and  our  young  men  who 
have  visited  Germany,  have  paid  little  attention  to  that  depart- 
ment of  study  while  there."  He  then  acknowledges  that  he 
owes  to  Coleridge  the  understanding  of  what  little  Kant  he  has 
read.  "The  same  views  are  generally  entertained  in  this 
country  as  in  Great  Britain,  respecting  German  literature  ;  and 
Stewart's  History  of  Philosophy  especially  has  had  an  extensive 
influence  to  deter  students  from  the  study  of  their  philosophy. 
Whether  any  change  in  this  respect  is  to  take  place  remains  to 
be  seen." 

The  period  between  1802  and  1825  is  a  transition  period  when 
viewed  with  respect  to  German  literature.  Works  that  have 
already  become  established  in  public  favor  like  those  of  Gessner, 
Kotzebue,    Zimmermann,    Goethe    (IVerter),    and    others    are 


'  T/te  Aiitobiof^raphy  of  the  Rev.  S.  H.  Turner,  New  York,  1864,  p.  124. 
«  The  Remains  of  the  Rev.  James  Marsh,  Boston,  1843,  P-  44- 
'Ibid.,  p.  137. 


62  Early  Influence  of  German  Literature  in  America. 

reprinted,  but  there  are  few  accessions  by  new  authors.  The 
attitude  of  the  general  public  also  remains  the  same  toward 
German  literature.*  The  advent  (about  1818)  of  a  new  class  of 
romantic  fiction  has  already  been  mentioned.  If  our  presenta- 
tion of  the  new  movement  toward  a  better  understanding  of 
German  literature  may  seem  meagre  we  must  point  again  to  the 
fact  that  this  subject  lies  beyond  the  task  set  for  this  article, 
and  we  could  only  enter  upon  this  subject,  and  confine  ourselves 
within  our  self-imposed  limits,  by  following  the  youthful  studies 
and  interests  of  men  like  Ticknor,  Everett  and  Bancroft. 
Certainly  a  most  sympathetic  theme,  but  one  that  had  best  be 
left  for  treatment  in  another  connection. 


^  An  article  of  this  type  is  to  be  found  in  The  Portico;  a  Repository  of  Science 
and  Literature,  Baltimore,  1817,  Vol.  II,  pp.  17-25,  in  which  the  reviewer 
comes  to  the  usual  conclusion  that  Gessner  and  Kotzebue  are  the  most  satisfac- 
tory German  writers. 


Frederick  H.   Wilkefis.  63 

APPENDIX. 
A   List  of  the   Translations  of   German   Literature 

THAT   WERE   PRINTED    IN    THE    UNITED    STATES 
BEFORE    1826. 

Abbreviations:  adv.  =  advertisement;  a.  pref.,  etc.  =  author's  preface;  cont 
=  contents;  ed.  =  edition;  e.  pref.,  etc.  =  editor's  preface;  introd.  =  introduc- 
tion; pi.  =  plate;  pref,  =  preface;  t.  pref.,  etc.  =  translator's  preface,  etc. 

[Note. — An  attempt  has  been  made  to  obtain  a  fairly  com- 
plete list  of  translations  from  German  literature,  of  works  sug- 
gested by  German  literature,  and  of  important  collections 
containing  translations  from  German  literature,  as  far  as  such 
were  printed  in  the  United  States  before  1826.  Absolute  com- 
pleteness is  impossible  and  indeed  not  requisite  for  the  purposes 
of  our  investigation.  From  the  fact  that  both  collector  and 
bibliographer  take  little  interest  in  the  reprints  of  the  end  of 
the  last,  and  beginning  of  our  century,  the  student  is  compelled 
to  go  over  the  ground  himself,  not  the  least  laborious  part  of 
this  study.  Fully  two-thirds  of  the  books  mentioned  have  been 
personally  examined,  of  the  remaining  third  many  titles  were 
furnished  by  the  courtesy  of  librarians,  or  taken  from  equally 
reliable  sources  {e.  g.  the  Catalogue  of  the  Brinley  Collection). 
In  some  cases,  where  titles  could  not  be  verified,  sources  are 
stated.  C.  R.  Hildeburn,  A  Century  of  Printing,  Philadelphia, 
1885-86,  and  Isaiah  Thomas'  list  of  ante-revolutionary  prints 
in  his  "  History  of  Printing  in  America "  (iVmerican  Anti- 
quarian Society  Transactions,  Vols,  V-VI),  are  thus  quoted. 

Want  of  space  prohibits  us  from  acknowledging  here  the 
many  favors  received  through  the  uniform  courtesy  of  librarians. 
Special  thanks  are  due  Mr,  A,  R.  Spofford  and  Mr.  A.  P.  C, 
Griffin,  of  the  Congressional  Library,  and  ]\Ir.  W,  Eames,  of  the 
Lenox  Library,  for  their  kind  and  ever  ready  advice,  and  to  Mr, 
E.  M.  Barton,  of  the  American  Antiquarian  Society,  Worcester, 
Mass,,  Mr,  J,  Schwartz,  of  the  New  York  Apprentices'  Library, 
and  my  friend,  Professor  G,  S.  Collins,  of  the  Brooklyn  Poly- 
technic Institute,  for  interesting  information. 


64  Early  Influence  of  German  Literature  iyi  America. 

In  the  course  of  collecting  these  titles  the  desirability  of 
furnishing  the  fullest  information  in  regard  to  the  character  of 
prefaces,  the  numbering  of  pages,  etc.,  impressed  itself  more 
and  more.  Considering  the  many  sources  from  which  this  list 
has  been  compiled  a  uniform  practice  was  not  possible  in  these 
matters. 

It  is  hardly  necessary  to  emphasize  the  fact  that  a  detailed 
examination  of  these  prints  was  seldom  possible,  the  three 
requisites  of  American  reprint,  English  original  translation,  and 
German  original  being  only  rarely  found  at  the  same  library, 
quite  apart  from  the  fact  that  limitations  of  time  are  an  impor- 
tant factor  in  the  case  of  material  scattered  along  the  whole 
length  of  our  country.  It  would  be  a  grave  omission  not  to 
mention  the  help  derived  from  the  catalogue  of  the  British 
Museum  in  many  of  the  questions  arising  in  this  connection.] 

1762. 

1.  [Gessner,  S.]  The  Death  of  Abel.  In  five  books.  By  Solo- 
mon Gessuer.     Philadelphia:  William  Bradford.     1762. 

(Hildeburn.) 
Probably  reprint  of :        The  Death  of  Abel,  in  five  books,  attempted  from  the 
German  of  Mr.  Gessner  by  Mary  Collyer.     Ivondon.     1761,     [Der  Tod  Abels. 
1758.] 

2.  [Gessner,  S.]  The  Death  of  Abel,  in  five  books.  Boston. 
Reprinted.     1762.         12°.  (Thomas.) 

Probably  Mary  CoUyer's  translation.     I,ondon.     1761.     Cf.  i. 

1765- 

3.  [Gessner,  S.]  The  Death  of  Abel  in  five  books  attempted 
from  the  German  of  Mr.  Gessner  The  sixth  edition  London 
printed:  New  York  reprinted  by  H.  Gaine  at  the  Bible  and  Crown, 
in  Hanover  Square     1765. 

Mary  Collyer's  translation.     London.    1761.     Cf.  i. 

1767. 

4.  [Gessner,  S.]     The  Death  of  Abel,  in  five  books,  attempted 

from  the   German  of    Gessner.     7th  edition.     New  York.     1767. 

12'*.  (Thomas.) 

Evidently  Mary  Collyer's  translation.  London.  1761.  Ct.  i.  Reprint  of  the 
7th  English  edition     (1765)  ? 


Frederick  H.   Wilkens.  65 

1770. 

5.  [Gessner,  S.]  The  Death  of  Abel.  In  five  books.  At- 
tempted from  the  German  of  Mr.  Gessner.  London,  printed; 
Philadelphia,  reprinted  and  sold  by  Joseph  Crukshank,  and  Isaac 
Collins,  in  Third-street,  opposite  the  Work-house,  1770.  12°. 
pp.  iii-iv  "To  the  Queen",  v-viii  a.  pref.,  ix-x  t.  pref.,  11-106. 

Mary  Collyer's  translation.     London.     1761.     Cf.  i. 

1770? 

6.  [Gessner,  S.]  The  Death  of  Abel.  In  five  books.  At- 
tempted from  the  German  of  Mr.  Gessner.  London,  printed; 
Philadelphia,  reprinted  and  sold  by  John  Dunlap,  at  the  Newest 
Printing-office,  the  south  side  of  the  Jersey-market,  and  three  doors 
below  Second-street.  12°.  pp.  iii-iv  "To  the  Queen",  v-viii  a. 
pref.,  ix-x  t.  pref.,  11-106. 

Mary  Collyer's  translation.  London.  1761.  Cf.  i.  The  copy  of  the  Pa. 
Historical  Society  bears  on  the  binding  the  date  1770.  That  this  is  approxi- 
mately correct  is  proved  by  the  fact  that  the  designation  ' '  the  south  side  of  the 
Jersey-market"  occurs  only  from  1768-1770  in  books  printed  by  Dunlap.  (Cf. 
Hildebum. ) 

1778. 

7.  [Zimmerraann,  J.  G.]  Strictures  on  National  Pride.  Trans- 
lated from  the  German  of  Mr.  Zimmermann.  Physician  in  Ordinary 
to  His  Britannic  Majesty  at  Hanover,  .  .  .  Philadelphia,  printed 
and  sold  by  R.  Bell,  at  the  Circulating  Library,  next  door  to  St. 
Paul's  Church,  in  Third  street.  1778.  8°.  pp.  iii-iv  t.  pref., 
v-viii  [for  vi]  cont.,  9-274,  [pp.  5]  index. 

Reprint  of:  An  Essay  on  National  Pride,  translated,  &.c.  London. 
1771.    [Von  dem  Nationalstolze.  1758.] 

1784. 

8.  [Goethe,  J.  W.  von]  Sorrows  and  Sympathetic  Attachments 
of  Werther:  a  German  story,  in  a  series  of  letters.  By  Mr.  Goethe, 
Doctor  of  the  Civil  Law.  In  two  volumes.  Philadelphia:  Robert 
Bell.     1784.  (Hildeburn) 

Possibly  a  reprint  of:  The  Sorrows  of  Werter;  a  German  story  founded  on 
fact.     2  vols.     London.     1779.     [Die  Leiden  desjungen  Werthers.     1774.] 

1788. 

9.  [Klopstock,  F.  G.]  The  Messiah,  attempted  from  the  Ger- 
man of  Mr.  Klopstock,  by  Joseph  Collyer.     In  fifteen  books.    Eliza- 

5 


66  Early  Influence  of  German  Literature  in  America. 

beth  Town:   printed  and  sold  by  Shepard  Kollock,    1788.         16°. 
pp.  ii-v  t.  pref.,  vii-xvi  "  On  Divine  Poetry",  383.  (15  books.) 

Reprint  of:  The  Messiah,  &c.  2  vols.  London.  1763.  Vol.  3  (book 
1 1- 15)  was  added  later  [1772?].     [Der  Messias.     I75I-I773-] 

1789. 

10.  [Goethe,  J.  W.  von]  The  Sorrows  of  Werter.  A  German 
story.  Taedet  coeli  convexa  tueri.  To  each  his  suflFerings.  Gray. 
(Ode  to  Adversity.).  Vol.  I.  Litchfield,  (Connecticut)  Printed 
by  Thomas  Collier.  1789.  12°.  Vol.  I.  pp.  ii  t.  pref.,  94. 
Vol.  II.     pp.  1-92  +  [copy  examined  defective;  letter  38-77  +]. 

Apparently  Reprint  of:  The  Sorrows  of  Werter,  &c.  London.  1779.  Cf.  8. 
The  beginning  lines  as  in  39. 

11.  [Lessing,  G.  E.]  Lucy  Sampson,  or  the  Unhappy  Heyress, 
translated  by  a  citizen  of  Philadelphia.  Philadelphia.  Charles  Cist. 
1789. 

Translation  (by  David  Rittenhouse,  Philadelphia)  of:  Miss  Sara  Sampson, 
ein  biirgerliches  Trauerspiel.  1755.  The  title  of  the  work  is  taken  from  Goedeke, 
Gruudriss  zur  Geschichte  der  deutschen  Dichtung^,  Vol.  iv,  p.  142  (§221,  47), 
and  W.  Barton,  Memoirs  of  David  Rittenhouse,  Philadelphia,  1813,  p.  495. 
Goedeke  gives  the  date  1790. 

1790. 

12.  [Campe,  J.  H.]     The  New  Robinson  Crusoe:  an  instructive 
and  entertaining  history  for  the   use  of   children   of  both   sexes. 
Translated  from  the  French.     Printed  at  Boston,  by  Thomas  and 
Andrews,  at  Faust's  Statue.     Sold  at  their  bookstore.     .     . 
1790.     8°.     pp.  viii  e.  pref.,  270. 

Apparently  reprint  of:  The  New  Robinson  Crusoe,  &c.  4  vols.  London. 
1788.     [Robinson  der  jiingere.     1779.     1780.] 

13.  [Gessner,  S.,  suggested  by  G.'s  Death  of  Abel]  The 
Death  of  Cain  &c.     Cf.  17. 

14.  [Lavater,  J.  K.]     Aphorisms  on  Man.     Translated  from  the 
original  manuscript  of  the  Rev.    John  Casper  Lavater,   citizen  of 
Zuric.      Author  of   the  Essays  in   Phy     gnomy.         .     .     . 
Philadelphia:  printed  by  William  Spotswood.     1790.         16".     pp. 
v-vi  "  To  Henry  Fuseli",  vii-viii  e.  adv.,  pp.  100.  (633  aphorisms.) 

Reprint  of:  Aphorisms  on  Man,  &c,  [Translated  by  J.  H.  Fuseli.]  Lon- 
don.    178S. 


Frederick  H.  Wilkens.  67 

15.  [Lavater,  J.  K.]  Aphorisms  on  Man.  Translated  from  the 
original  manuscript  of  the  Rev,  John  Caspar  Lavater,  citizen  of 
Ziiric.  .  .  .  Third  edition.  London :  printed.  New  York: 
reprinted  by  T.  and  J.  Swords,  for  Berry  and  Rogers,  Hanover 
Square.  1790.  16°  [p.  3]  "To  Henry  Fuseli",  [p.  4]  e.  adv., 
pp.  5-1 14.  (633  aphorisms). 

J.  H.  Fuseli's  translation.     London.     1788.     Cf.  14. 

16.  [Lavater,  J.  K.]  Aphorisms  on  Man.  Translated  from  the 
original  manuscript  of  the  Rev.  John  Caspai  Lavater,  citizen  of 
Zuric.  .  .  .  Fourth  edition.  Printed  at  Boston,  by  I. 
Thomas  and  E.  T.  Andrews.  At  Faust's  Statue,  No.  45,  Newbury 
Street.  Sold  by  them  at  their  bookstore,  by  D.  West,  in  Marl- 
borough Street,  by  E.  Larkin,  jun.  in  Cornhill,  and  by  I.  Thomas,  in 
Worcester.  1790.  16°.  [p.  3]  "To  Henry  Fuseli",  [p.  4]  e.  adv., 
pp.  5-1 12.  (633  aphorisms.) 

J.  H.  Fuseli's  translation.     London.     1788.     Cf.  14. 

1791. 

17.  [Gessner,  S.]  The  Death  of  Abel.  In  five  books.  At- 
tempted from  the  German  of  Mr.  Gessner.  By  Mary  Colly er.  To 
which  is  added.  The  Death  of  Cain,  In  five  books.  Philadelphia: 
printed  by  William  Spotswood.  1791.  16°.  pp.  iii-vi  a.  pref., 
pp.  vii-viii  t.  pref.,  172. 

The  Death  of  Cain,  in  five  books;  after  the  manner  of  the  Death 
of  Abel.     By  a  Lady.  .    .    .    Philadelphia:  printed  and  sold  by 

William  Spotswood,  1790.         16°.     pp.  iii-iv  pref.,  pp.  103. 

Mary  Collyer's  translation  of:  The  Death  of  Abel.  London.  1761  (Cf  1); 
and  reprint  of:         The  Death  of  Cain,  &c.     London.     [1790?] 

18.  [Gessner,  S.,  suggested  by  the  G.'s  Death  of  Abel.]  The 
Death  of  Cain,  in  five  books;  after  the  manner  of  the  Death  of  Abel, 
By  a  Lady.  .  .  .  Philadelphia :  printed  and  sold  by  William 
Spotswood,  1791.         16°.     [p.  ii]  a.  adv.,  pp.  iii-iv  a.  pref.,  pp.  68. 

Reprint  of:  the  Death  of  Cain,  &c.  London.  [1790?].  Cf.  17.  This 
print  occurs  bound  with:  the  Death  of  Abel.  Philadelphia.  1791  (Cf  17) 
and  may  possibly  be  an  abridged  copy  of  print  13. 

About  1 79 1. 

19.  [Gessner,  S.]  The  Death  of  Abel.  In  five  books.  At- 
tempted from  the  German  of  Mr.  Gessner.  Newport  (Rhode  Island). 
Printed  by  Peter  Edes.         16°,     pp,  x   a,  pref.,  154. 


68  Early  Influence  of  German  Literature  in  America. 

Mary  Collyer's  translation.  1761.  Cf.  i.  Peter  Edes  printed  at  Newport 
from  about  1787-1796,  in  which  year  he  left.  I  have  fixed  approximate  date  of 
print  on  the  basis  of  this  information. 

1793- 

20.  [Gessner,  S.,  suggested  by  G.'s  Death  of  Abel.]  The 
Death  of  Cain;  in  five  books;  by  a  Lady,    Newburyport,  1793.    16°. 

Reprint  of:        The  Death  of  Cain,  &c.     London.     [1790?]     Cf  17. 

21.  [Lavater,  J.  K.]  Aphorisms  on  Man.  Translated  from  the 
original  manuscript  of  the  Rev.  John  Caspar  Lavater,  citizen  of 
Zuric.  5th  edition.  Printed  at  Newburyport,  by  George  Jerry 
Osborne,  Guttenberg'shead.     1793.         16°,     pp.  iv,  no. 

Evidently  J.  H.  Fuseli's  translation.     London.     1788.     Cf.  14. 

22.  [Schiller,  F.  von.]  The  Robbers.  A  tragedy.  Translated 
from  the  German  of  Frederick  Schiller.  New-York :  printed  by 
Samuel  Campbell.  No  37,  Hanover  Square.  1793.  8°.  pp. 
vii  introd.,  11-120. 

Reprint  of :  The  Robbers,  translated  from  the  German  of  F.  Schiller  [by 
A.  F.  Tytler,  Lord  Woodhouselee].     London.     1792. 

23.  [Zimmermann,  J.  G.]  Solitude  considered  with  respect  to 
its  Influence  upon  the  Mind  and  the  Heart.  Written  originally  in 
German  by  M.  Zimmermann.  Aulic  Counsellor  and  Physician  to 
His  Britannic  Majesty  at  Hanover.  Translated  from  the  French  of 
J.  B.  Mercier.  .  .  .  Philadelphia:  printed  for  J.  Crukshank,  W. 
Young,  T.  Dobson,  M.  Carey,  H.  &  P.  Rice,  B.  Johnson,  and  P. 
Hall.     1793.         12°.     [p.  i]     Cont.,  pp.  328. 

Reprint  of :  Solitude  considered  with  respect  to  its  Influence  on  the  Mind 
and  Heart.  Written  originally  in  German  by  Mr.  Zimmermann.  Translated 
from  the  French  of  J.  B.  Mercier.  London.  1791.  [tjber  die  Einsamkeit. 
1784-85.] 

1794? 

24.  [Gessner,  S.]  The  Death  of  Abel.  In  five  books.  At- 
tempted from  the  German  of  Mr.  Gessner.  By  Mary  Collyer.  New- 
York.  Printed  and  sold  by  S.  Campbell,  No.  37,  Hanover  Square. 
1764.         16°. 

Mary  Collyer's  translation.  London.  1761.  Cf.  i.  The  date  1764  is  found 
in  the  print  (cf.  also  facsimile  in  C.  R.  Hildeburn,  Sketches  of  Printers  and 
Printing  in  Colonial  New  York .  1895.  p.  70).  Hildeburn  was  unable  to  ascer- 
tain anything  concerning  the  printer,  or  that  he  printed  anything  else.  1764 
seems  to  be  a  printer's  error,  perhaps  for  1794.  In  1793  Samuel  Campbell 
printed  at  the  same  address  Schiller's  Robbers.     Cf.  22. 


Frederick  H.  Wilkens.  69 

1795- 

25.  The  Surprising  Life  and  Death  of  Dr.  John  Faustus,  D.  D. 
commonly  called  the  History  of  the  the  [sic]  Devil  and  Dr.  Faustus. 
To  which  is  now  added  the  Necromancer,  or,  Harlequin  Dr.  Faustus; 
as  performed  at  the  Theatres.  Truly  translated  from  the  original 
copies.  Printed  at  Worcester.  1795.  24°.  pp.  5-144  [misprint 
for  143]. 

Reprint  of  an  English  print.  The  Brit.  Mus.  has  English  editions  of  a  simi- 
lar title.     [Historia  von  Dr.  Johann  Fausten.  Frankfurt  a.  M.  15S7.] 

26.  [Dr.  Faustus,  suggested  by  the  story  of  Dr.  Faustus.] 
The  Necromancer  or  Harlequin  Dr.  Faustus.     Cf.  25. 

27.  [Goethe,  J.  W.  von]  The  Sorrows  of  Werter,  an  affecting 
story.  Translated  from  the  original  German.  Forever  Fortune  wilt 
thou  prove.  An  unrelenting  Foe  to  Love;  And  when  we  meet,  a 
mutual  Heart,  Come  in  between  and  bid  us  part?  Bid  us  sigh  on, 
from  Day  to  Day,  And  wish,  and  wish  the  Soul  away.  Till  youth 
and  passion  both  are  flown.  And  all  the  Life  of  Life  is  gone.  New 
York :  printed  by  Wayland  &  Davis,  Water-street,  for  L.  Wayland. 
1795.         18°.     pp.  142. 

Probably  reprint  of  one  of  the  English  translations.  Letter  i .  You  ask  me 
how  I  fell  in  love  ?  What  a  question  !  Why  I've  seen  such  a  woman  !  So  much 
sweetness,  such  affable  behaviour;  &c.  .  .  .  Emilia  Galotti  was  lying  open 
upon  his  bureau.  I  will  say  nothing  of  Albert's  great  distress,  nor  of  the  situa- 
tion of  Charlotte.     Finis. 

28.  [Klopstock,  F.  G.]  The  Messiah,  attempted  from  the  Ger- 
man of  Mr.  Klopstock,  by  Joseph  Collyer.  In  fifteen  books.  New- 
York.  G.  Forman,  No.  156,  Front  Street,  for  Evert  Duyckinck  & 
Co.  booksellers  and  stationers.  No  no.  Pearl  Street.  1795. 
12°.     pp.  iii-iv  t.  pref.,  vii-xvi  "  On  Divine  Poetry,"  17-403. 

J.  Collyer's  translation.     London.     1763,  [1772?].     Cf.  9. 

29.  [Salzmann,  C.  G,]  Elements  of  Morality,  for  the  Use  of 
Children;  with  an  Introductory  Address  to  Parents.  Translated 
from  the  German  of  the  Rev.  C.  G.  Salzmann.  The  first  American 
edition.  Printed  at  Providence  (R.  Island)  by  Carter  and  Wilkin- 
son, and  sold  at  their  book  and  stationary  store,  opposite  the 
Market.  1795.  12°.  pp.  iii-v  adv.,  vii-xix  "Introductory 
Address  to  Parents,"  pp.  21-306.     i  pi. 

Reprint  of :  Elements  of  Morality,  &c.  [Translated  by  INIary  Wollstone- 
craft.]     London.     1790.     [Moralisches  Elementarbuch.     1782-S3.] 


70  Early  Influence  of  German  Literature  in  America. 

1795  or  before. 

30.  [Gessner,  S.]  The  Death  of  Abel.  New  York.  Evart 
Duyckinck  &  Co. 

Possibly  a  reprint  of  Mary  Collyer's  translation.  London.  1761.  This  ed. 
is  mentioned  in  an  adv.  in  Duyckinck's  ed.  of  the  Messiah.     Cf.  28. 

1796. 

31.  [Salzmann,  C.  G.]  Elements  of  Morality  for  the  Use  of  Chil- 
dren ;  with  an  Introductory  Address  to  Parents.  Translated  from 
the  German  of  the  Rev.  C.  G.  Salzmann.  Illustrated  with  twenty 
copper  plates.     In  two  volumes.     Vol.    II.     Philadelphia:  printed 

for  J.  Hoflf  &  H.  Kaemmerer,  jun.   1796.         12°.    Vol.  I. ;  Vol. 

IT.  pp.  5-259.     20  plates. 

Reprint  of  Mary  Wollstonecraft's  translation.     London.     1790.     Cf  29. 

32.  [Salzmann,  C.  G.]  Elements  of  Morality  for  the  Use  of  Chil- 
dren; with  an  Introductory  Address  to  Parents.  Translated  from 
the  German  of  the  Rev.  C.  G.  Salzmann.  The  third  American  edi- 
tion. Wilmington:  printed  by  Joseph  Johnson.  Market  Street 
opposite  the  Bank.  1796.  12°.  pp.  iii-iv  adv.,  v-xiv  "  Introduc- 
tory Address  to  Parents,"  15-232. 

Reprint  of  Mary  Wollstonecraft's  translation.     London.     1790.    Cf  29. 

33.  [Schiller,  F.  von.]  The  Ghost-Seer;  or,  Apparitionist:  an 
interesting  fragment,  found  among  the  papers  of  Count  0*****. 
From  the  German  of  Schiller.  New- York:  printed  by  T.  &  J. 
Swords,  No.  99  Pearl- street.     1796.         12°.     pp.  5-120. 

Reprint  of  :  The  Ghost-Seer;  or  Apparitionist,  &c.  [Translated  by  D. 
Boileau.]    London.     1795.     [Der  Geisterseher.     1789.] 

34.  [Zimmermann,  J.  G.]  Solitude  considered  with  respect  to 
its  Influence  upon  the  Mind  and  the  Heart.  Written  originally  in 
German  by  M.  Zimmermann,  Aulic  Counsellor  and  Physician  to 
His  Britannic  Majesty  at  Hanover.  Translated  from  the  French  of 
J.  B.  Mercier.  .  .  .  Albany:  printed  by  Barber  &  South- 
wick,  Faust's  Statue,  State-street 1796.         8°.     pp.  viii,  280. 

Apparently  reprint  of:        Solitude  considered  &c.     London.     1791.     Cf  23. 

1797. 

35.  [Goethe,  J.  W.  von,  suggested  by  G.'s  Werther.]  The 
Letters  of  Charlotte,  during  her  Connexion  with  Werter.  .  .  . 
Vol.  I.  New-York:  printed  by  William  H.  Davis,  for  E.  Duyckinck 


Fredet  ick  H.   Wilkens.  7 1 

&  Co.      T.  Allen,  T.  &  J.  Swords,    T.    Greeuleaf,  and  J.   Tiebout. 
1797.     12°.    Vol.1,    pp.  v-xii  e.  pref.,  13-117.         frontispiece.    Vol. 
II.  pp.  121-240. 
Reprint  of:        The  Letters  of  Charlotte,  &c.    2  vols.     London.    1786. 

36.  [Wieland,  C.  M.]  Socrates  out  of  his  Senses:  or  Dialogues 
of  Diogenes  of  Sinope.  .  .  .  Translated  from  the  German  of 
Wieland,  by  Mr.  Wintersted.  Vol.  I.  Newburgh:  printed  by 
D.  Denniston,  for  self  and  J.  Fellows.     1797.     Vol.  I.     pp.  xvi,  119. 

Reprint  of:  Socrates  out  of  his  Senses,  &c.  2  vols.  London.  1771. 
(Was  more  than  one  vol.  ever  reprinted  ?)  [Su/cparj/f  fiaivo/xevoc ,  oder  die 
Dialogen  des  Diogenes  von  Sinope.     1770.] 

37.  [Zimmermann,  J.  G.]  Solitude  considered  with  respect  to 
its  Influence  upon  the  Mind  and  the  Heart.  Written  originally  in 
German  by  M.  Zimmermann,  Aulic  Counsellor  and  Physician  to  His 
Britannic  Majesty  at  Hanover.  Translated  from  the  French  of  J. 
B.  Mercier.  .  .  .  Wilmington:  printed  by  Johnson  &  Preston, 
No.  73  Market-street.  1797.  16°.  [p.  i]  Cont.,  pp.  i-v  French 
t.  pref.,  298.     2  pi. 

Reprint  of:        Solitude  considered  &c.    London.     1791.     Cf.  23. 

1797? 

38.  [Sturm,  C.  C]  Moral  and  Natural  Philosophy  familiarized, 
in  Reflections  suitable  for  every  Day  in  the  Year.  From  the  German 
of  C.  C.  Sturm. 

"  Preparing  for  the  press  "  according  to  advertisement  in  the  American  Uni- 
versal Magazine,  Vol.  I,  No.  i  (Jan.  2d,  1797).  in  which  number  also  began  a  serial 
publication  (of  the  same?)  entitled:  Natural  and  Moral  Philosophy  familiarized 
in  a  Series  of  Reflections  from  the  German  of  C.  C.  Sturm.  Probably  reprint 
or  adaptation  of  one  of  the  English  translations.  [Bctrachtungen  iiber  die 
Werke  Gottes  im  Reiche  der  Natur.     1785-] 

1798. 

39.  [Goethe,  J.  W.  von.]  Werter  and  Charlotte.  The  Sorrows 
of  Werter.  A  German  story.  To  which  is  annexed,  the  Letters  of 
Charlotte  to  a  female  Friend,  during  her  Connection  with  Werter. 
The  whole  of  both  works  complete  in  one  volume.  Boston  :  for 
Thomas  and  Andrews.  Sold  at  their  bookstore.  No.  45,  Newbury- 
street;  by  I.  Thomas,  Worcester;  by  Thomas  Andrews,  and  Peuni- 
man,  Albany;  and  by  Thomas  Andrews,  and  Butler,  Baltimore. 
October,  1798.     Printing-ofiice,  No.  20,  Union-street.    12°.    pp.  284. 


72  Early  Infiiience  of  German  Literature  in  Atnerica. 

Apparently  reprint  of :  The  Sorrows  of  Werter.  London.  1779,  Cf.  10; 
and,  apparently,  of:        The  Letters  of  Charlotte  &c.     London.     17S6.     Cf  35. 

Letter  I.  May  4.  I  am  glad  that  I  went  away.  Could  I  leave  you,  my  com- 
panion, my  friend,  that  I  might  be  more  at  ease?  The  heart  of  man  is 
inexplicable.  .  .  .  If,  O  heaven,  it  is  not  presumption,  let  my  last  prayer 
be  heard  for  Werter:  may  thy  mere}'  equal  Charlotte's  pity  !     Finis. 

40.  [Goethe,  J.  W.  von,  suggested  by  G.'s  Werther.]  The 
Letters  of  Charlotte.     Cf.  39. 

1799. 

41.  [Kotzebue,  A.  F.  F.  von.]  The  Constant  Lover;  or,  Will- 
iam and  Jeannette:  a  tale.  From  the  German  of  Augustus  von 
Kotzebue,  author  of  the  Stranger,  Lovers'  Vows,  Self  Immolation, 
Virgin  of  the  Sun,  &c.  To  which  is  prefixed,  an  account  of  the 
literary  life  of  the  author.  Two  volumes  in  one.  Boston:  printed 
for  Joseph  Bumstead.  Sold  by  him  at  No.  20,  Union  Street;  by 
Thomas  and  Andrews,  Newbury-Street;  by  K.  Larkin,  and  Wm.  P. 
and  L.  Blake,  Cornhill.  1799.  12°.  [p.  iii]  a.  dedication,  pp. 
v-xiv  "  My  Literary  Life,"  15-295,  [pp.  2]  cont. 

Apparently  a  reprint  of :  The  Constant  Lover;  &c.  2  vols.  London.  1799. 
["Gepriifte  Liebe "  in  "Die  jiingsten  Kinder  meiner  Laune,  1793-97." 
Vol.  4,  6.] 

42.  [Kotzebue,  A.  F.  F.  von]  The  Constant  Lover;  or,  WilHam 
&  Jeanette:  a  tale.  From  the  German  of  A.  von  Kotzebue, 
author  of  the  Stranger,  Lovers'  Vows,  Count  Benyowsky  &c  &c. 
In  two  vols.  Vol.11.  New  York:  printed  for  Naphthali  Judah;  No. 
47,  Water  Street,  by  M.  L.  &  W.  A.  Davis.  1799.  12°.  Vol. 
I. .     Vol.  II.     pp.  180. 

Apparently  a  reprint  of :        The  Constant  Lover,  &c.    London.   1799.  Cf  41.^ 

43.  [Kotzebue,  A.  F.  F.  von.]  Self  Immolation,  or,  the  Sacrifice 
of  Love.  A  play  —  in  three  acts.  By  Augustus  von  Kotzebue. 
Faithfully  translated  from  the  German.  By  Henry  Neuman,  Esq. 
Boston:  printed  for  W.  P.  and  L-  Blake,  at  the  Boston  Book-store, 
Cornhill.     1799.         12°.         pp.  57. 

Reprint  of:        Self  Immolation,  &c.     London.  1799.  [Der  Opfertod.  1798.] 

^Note:  In  the  edition  of  Kotzebue's  Pizarro  published  by  Naphthali  Judah, 
he  advertises  the  following  works  of  Kotzebue  as  for  sale  by  him:  Constant 
Lovers  (No.  42),  Lovers'  Vows,  Count  Benyowsky,  the  Stranger  (No.  44?). 
They  all  seem  to  be  his  own  publications. 


Frederick  H.  Wilkens.  73 

44.  [Kotzebue,  A.  F.  F  von.]  The  Stranger:  translated  from 
Kotzebue  (by  A,  S — k).     New  York,     1799. 

Reprint  of:  The  Stranger:  a  corned}'.  Freely  translated  from  Kotzebue's 
German  comedy  of  Misanthropy  and  Repentance  [by  A.  S****k,  i.  e.  A. 
Schink].     London.     1798.     [Menschenhass  und   Reue.     17S9.] 

45.  [Kotzebue,  A.  F.  F.  von.]  Pizarro;  a  tragedy;  from  the 
German  of  Kotzebue,  &c.  Adapted  to  the  English  stage.  By 
Sheridan.  Philadelphia.  1799.  12°.  (Phila.  Libr.  Co.  Cata- 
logue. 1S35) 

Reprint  of :  Pizarro.  A  tragedy  in  five  acts,  taken  from  the  German  drama 
of  Kotzebue,  and  adapted  to  the  English  stage  by  R.  B.  Sheridan.  London. 
1799.     [Die  Spanier  in  Peru,  oder  Rollas  Tod.     1796.] 

46.  [Zimmermann,  J.  G.]  Essay  on  National  Pride.  To  which 
are  prefixed:  Memoirs  of  the  Author's  I,ife  and  Writings.  Trans- 
lated from  the  original  German  of  the  late  celebrated  Dr.  J.  G.  Zim- 
mermann, Aulic  Counsellor  and  Phj^sician  to  His  Britannic  Majesty 
at  Hanover.  By  Samuel  H.  Wilcocke.  New- York:  printed  by  M. 
ly.  &  W.  A.  Davis,  for  A.  Caritat,  bookseller  and  librarian.  1799. 
8°.     pp.  vii-xl  "L^ife  and  Writings  of  Z.",  41-300,  [pp.  24]  index. 

Reprint  of:  Essay  on  National  Pride,  &c.  London.  1797.  [Von  dem 
Nationalstolze.     1758.] 

1800. 

47.  The  German  Theatre.  [Translated  and  edited  by  William 
Dunlap.] 

No.  I.     The  Wildgoose  Chace.     Cf.  67. 

No.  II.  The  Virgin  of  the  Sun.    Being  the  First  of  Pizarro  in 

Peru;  or,  the  Death  of  Rolla.     Cf.  64. 

No.  III.  Pizarro  in  Peru;  or,  the  Death  of  Rolla.     Cf  59. 

Dunlap  published  under  the  general  title  "  The  German  Theatre  "  the  three 
pieces  whose  titles  are  given  in  full  under  the  separate  publications. 

48.  [Kotzebue,  A.  F.  F.  von.]  Adelaide  of  Wulfingen.  A 
tragedy  in  four  acts.  (Exemplifying  the  barbarity  which  prevailed 
during  the  thirteenth  century.)  From  the  German  of  Kotzebue. 
New-York  ;  printed  for  Charles  Smith  and  S.  Stephens.  1800. 
8°.     pp.  3-67. 

Reprint  of:  Adelaide  of  Wulfingen,  &c.  Translated  by  Benjamin  Thomp- 
son.    London.     1798.     [Adelheid  von  Wulfingen.     1788.] 


74  Early  hifiuence  of  German  Lite?'ature  hi  America. 

49.  [Kotzebue,  A.  F.  F.  von.]  Count  Benj^owsky;  or,  the  Con- 
spiracy of  Kamtschatka,  A  tragi-comedy,  in  five  acts,  by  Baron 
Kozebue  [sic],  author  of  'The  Stranger',  performed  at  the  Theatre 
Royal,  Drury  Lane.  Translated  from  the  German,  by  the  Rev.  W. 
Render,  Teacher  of  the  German  language  in  the  University  of  Cam- 
bridge. First  American  from  the  second  London  edition.  Boston: 
printed  by  Manning  &  Loring.     1800.     [p.  4]  adv.,  pp.  5-98. 

Reprint  of:  Count  Benj'owsky,  &c.  London.  179S.  2d  ed.  1798.  [Graf 
Benyowsky.     1795.] 

50.  [Kotzebue,  A.  F.  F  von.]  The  Count  of  Burgundy:  a 
comedy  of  Kotzebue.  In  four  acts.  Translated  from  the  German, 
by  Charles  Smith.  New  York:  printed  for  Charles  Smith  and  S. 
Stephens.     1800.     [M.  M'Farlane,  printer,  29  Gold-Street.] 

A  translation  (by  Charles  Smith,  New  York)  of:  Der  Graf  von  Burgund. 
1798. 

51.  [Kotzebue,  A.  F.  F.  von.]  The  Dramatic  Works  of  Baron 
Kotzebue.  Translated  from  the  German,  by  Charles  Smith.  Vol.  I. 
Containing.  Count  of  Burgundy,  Wild  Youth,  Indigence,  and 
Nobleness  of  Mind,  La  Peyrouse,  The  Virgin  of  the  Sun,  Adelaide 
of  Wulfingen.  New- York:  printed  for  Charles  Smith,  No.  52 
Maiden  Lane,  and  Stephen  Stephens,  No.  165  Pearl  Street. 
1800.         8°. 

Vol.  II.  Containing.  Self  Immolation,  Happy  Family,  Force  of 
Calumny,  Widow  and  the  Riding  Horse,  Pizarro,  Kast-Indian. 
8°. 

Vol.  III.  Containing.  Fraternal  Discord,  Writing  Desk,  Abbe 
de  I'Epee,  False  Shame,  East  Indian,  Speed  the  Plough.         8°. 

This  is  a  collection  of  the  translations  from  Kotzebue  published  also  singly 
by  Charles  Smith  (Cf.  passim  sub  iSooand  1801).  Only  "  Count  of  Burgundy," 
"  Wild  Youth,"  and  "La  Peyrouse  "  seem  to  be  translations  by  Smith.  Each 
vol.  of  the  collection  is  provided  with  a  general  title.  As  the  title-page  of 
vol.  I  was  wanting  in  the  copy  examined,  the  style  of  the  same  was  taken  from 
vol.  2.    "  East  Indian, "  and  "  Speed  the  Plough  "  in  vol.  3.  are  not  by  Kotzebue. 

52.  [Kotzebue,  A.  F.  F.  von.]  The  East  Indian:  a  comedy,  in 
three  acts.  Translated  from  the  German  of  Kotzebue.  New- York : 
printed  for  Charles  Smith  and  S.  Stephens.     1800.         8°.     pp.88. 

Possibly  a  reprint  of :  The  East  Indian,  &c.  Translated  -  .  .  by  A.  Thom- 
son. London.  1799.  (Appeared  first  as  "The  Indians  in  England"  in  the 
German  Miscellany,  Perth,  1796:)  [Die  Indianer  in  England.     1790.] 


Frederick  H.  Wilkens.  75 

53.  [Kotzebue,  A.  F.  F.  von.]  False  Shame:  or  the  American 
Orphan  in  Germany:  a  comedy.  From  the  German  of  Augustus 
von  Kotzebue.     Charleston,  W.  P.  Young.     1800.         12°.     pp.  76. 

Possibly  a  reprint  of:  False  Shame,  a  comedy  &c.  London.  1799. 
[Falsche  Scham.    179S.] 

54.  [Kotzebue,  A.  F.  F.  von.]  The  Force  of  Calumny:  a  play, 
in  five  acts.  Translated  from  the  German  of  Kotzebue.  New- York : 
printed  for  C.  Smith  and  S.  Stephens,  by  John  Furman.     iSoo. 

8°.     pp.  3-124. 

Reprint  of :  The  Force  of  Calumny,  &c.  Translated  by  Anne  Plumptre. 
London.     1799.     [Die  Verlaumder.     1796.] 

55.  [Kotzebue,  A.  F,  F.  von.]  The  Happy  Family;  a  drama, 
in  five  acts.  Translated  from  the  German  of  Kotzebue.  New- York: 
printed  for  C.  Smith  and  S.  Stephens.     1800.         8°.     pp.  3-84. 

Reprint  of:  The  Happy  Family.  Translated  by  Benjamin  Thompson. 
London.     1799.     [Die  Silberne  Hochzeit.     1799.] 

56.  [Kotzebue,  A.  F.  F.  von.]  Ildegerte,  Queen  of  Norway. 
In  two  volumes.  From  the  German  of  Augustus  von  Kotzebue, 
author  of  the  Stranger.  By  Benjamin  Thompson,  jun.  translator  of 
the  Stranger,  as  performed  at  the  Theatre  Royal,  Drury-L,ane. 
Vol.  I.  Philadelphia:  printed  for  Robert  Campbell,  No.  30,  Ches- 
nut-street.  1800.  16°.  Vol.  I.  pp.  5-103  (99-103  notes).  Vol.  II. 
pp.  2-91  (p.  91  notes). 

Reprint  of:  Ildegerte,  Queen  of  Norway,  &c.  London.  179S.  [Ilde- 
gerte, Koniginn  von  Norwegen.     1788.] 

57.  [Kotzebue,  A.  F.  F.  von.]  Indigence,  and  Nobleness  of 
Mind.  A  comedy  in  five  acts,  from  the  German  of  Kotzebue.  New 
York  :  printed  for  Charles  Smith  and  S.  Stephens.   1800.  8°.  pp.  64. 

Apparently  a  reprint  of:  Sighs;  or,  the  Daughter,  a  comedy,  in  five  acts. 
Taken  from  the  German  drama  of  Kotzebue,  with  alterations,  by  Prince  Hoare. 
London.     1799.     [Armut  und  Edelsinn.     I795-] 

58.  [Kotzebue,  A.  F.  F.  von]  La  Peyrouse:  a  comedy,  in  two 
acts.  Translated  from  the  German  of  Kotzebue,  by  Charles  Smith. 
New- York  :  printed  for  Charles  Smith  and  S.  Stephens.    1800. 

8°.  pp.  iii-iv.  t.  pref.,  40. 

A  translation  (by  Charles  Smith,  New  York)  of:  La  Peyrouse,  Schauspiel  in 
2  Akten.   Leipzig.     1798. 


76  Early  Influence  of  German  Literature  i7i  America. 

59.  [Kotzebue,  A.  F.  F.  von.]  Pizarroin  Peru;  or,  the  Death  of 
Rolla.  A  play,  in  five  acts.  From  the  German  of  Augustus  von 
Kotzebue.  With  notes  marking  the  variations  from  the  original. 
New: York.  Printed  by  G.  F,  Hopkins,  for  William  Dunlap.  And 
sold  at  the  office  of  the  printer.  No.  136  Pearl-street;  T.  and  J. 
Swords,  No.  99  Pearl-street;  Gaine  and  Ten-Eyck,  No.  148  Pearl- 
street;  John  Black,  No.  5  Cedar-street;  Alex.  Somerville,  No.  114 
Maiden-lane;  and  most  other  booksellers  in  the  U.  States.  1800. 
8°.  pp.  iii-iv  a.  pref.,  9-92  (81-92  notes),  frontispiece  [Mrs.  Mel- 
mouth].     [No.  3  of  a  series  entitled  '  German  Theatre.'     Cf  47.] 

A  trauslation  (by  William  Dunlap,  New  York)  of:  Die  Spanier  in  Peru, 
oder  Rollas  Tod.     Leipzig.     1796. 

60.  [Kotzebue,  A.  F.  F.  von.]  Pizarro  ;  or  the  Spaniards  in 
Peru.  A  tragedy  in  five  acts.  Translated  from  the  German  of 
Kotzebue.  New-York:  printed  for  Charles  Smith,  and  Stephen 
Stephens.     1800.         8°.     pp.  62. 

Sheridans  adaptation.  London.  1799.  Cf.  45.  Act  5  of  the  reprint,  how- 
ever, contains  a  fuller  version  following  the  German  original. 

61.  [Kotzebue,  A.  F.  F.  von.]  Self  Immolation:  or,  the  Sacri- 
fice of  Ivove.  A  play  in  three  acts.  Translated  from  the  German 
of  Kotzebue.  New- York;  printed  for  Charles  Smith  and  S.  Stephens. 
i8oo.         8°.     pp.  4-54. 

Possibly  a  reprint  of:  Self  Immolation,  &c.  Faithfully  translated  .  .  . 
by  Henry  Neuman.     London.     1799-     Cf.  43. 

62.  [Kotzebue,  A.  F.  F  von.]  Sighs;  or,  the  Daughter;  a 
comedy,  in  five  acts;  as  it  is  performed  at  the  Theatre  Royal,  Hay- 
market.  Taken  from  the  German  drama  of  Kotzebue;  with  altera- 
tions. By  Prince  Hoare.  .  .  .  Charlestowu:  Printed  by  Samuel 
Etheridge,  for  E.  Larkin,  No.  47,  Cornhill,  Boston.  1800.  12°. 
pp.  iii-iv  prologue,  7-71. 

Reprint  of :        Sighs;  &c.     London.     1799.     Cf.  57. 

63.  [Kotzebue,  A.  F.  F.  von.]  The  Sufferings  of  the  Family  of 
Ortenberg.  A  novel.  Translated  from  the  German  of  Augustus 
von  Kotzebue,  by  P.  Will,  Minister  of  the  Reformed  Congregation 
in  the  Savoy.  Two  volumes  in  one.  Philadelphia :  printed  by  John 
Bioren,  for  Henry  and  Patrick  Rice,  No  16,  South  2d  St.  and  James 
Rice,  &  Co.  Baltimore.  1800.  16°.  Vol.  I.  pp.  154.  Vol.  II. 
pp.  160. 

Reprint  of:  The  Sufferings  &c.  London.  1799.  [Die  Leiden  der 
Ortenbergischen  Familie.     1787,  1788.] 


Frederick  H.   Wilkens.  'j'j 

64.  [Kotzebue,  A.  F.  F.  von.]  The  Virgin  of  the  Sun :  a 
play,  in  five  acts.  From  the  German  of  Augustus  von  Kotzebue. 
With  notes  marking  the  variations  from  the  original.  New-York  : 
printed  by  G.  F.  Hopkins,  for  William  Dunlap.  And  sold  at  the 
office  of  the  printer.  No.  84  Maiden-lane;  T.  and  J.  Swords,  No.  99 
Pearl-street;  Gaine  and  Ten-Eyck,  No.  148  Pearl-street;  John  Black, 
No.  5  Cedar-street;  Alex  Somerville,  No.  114  Maiden-lane;  and  most 
other  booksellers  in  the  U.  States.  1800.  8°.  pp.  iii-iv  a.  dedica- 
tion, 7-80.  (75-80  notes).  I  frontispiece.  [Mrs.  Hodgkinson.]  [No. 
2  of  a  collection  entitled  "  German  Theatre."    Cf.  47.] 

A  translation  (by  William  Dunlap,  New  York)  of:  Die  Sonnenjungfrau. 
Leipzig.     1 791. 

65.  [Kotzebue,  A.  F.  F.  von.]  The  Virgin  of  the  Sun,  a  play 
in  five  acts.  Translated  from  the  German  of  Kotzebue,  New- York; 
printed  for  Charles  Smith  and  S.  Stephens.  1800.  8°.  pp.  III-V 
a.  dedication,  7-96. 

Possibly  a  reprint  of:  The  Virgin  of  the  Sun.  Translated  ...  by  James 
Lawrence.     London.     1799. 

66.  [Kotzebue,  A.  F.  F  von.]  The  Widow,  and  the  Riding 
Horse.  A  dramatic  trifle,  in  one  act.  Translated  from  the  German 
of  Kotzebue.  New- York:  printed  for  Charles  Smith  and  S.  Stephens. 
1800.         8°.     [p.  I]  adv.,  pp.  26. 

Apparently  a  reprint  of :  The  Widow  and  the  Riding  Horse.  &c.  Trans- 
lated ...  by  Anne  Plumptre.  London.  1799.  [Die  Wittwe  und  das  Reit- 
pferd.     1796.] 

67.  [Kotzebue,  A.  F.  F.  von.]  The  Wild-goose  Chace:  a  play, 
in  Tour  acts.  With  songs.  From  the  German  of  Augustus  von 
Kotzebue.  With  notes  marking  the  variations  from  the  original. 
New  York:  printed  by  J.  F.  Hopkins,  for  William  Dunlap.  And 
sold  at  the  office  of  the  printer.  No.  84  Maiden-lane;  T.  &  J.  Swords, 
No.  99  Pearl-street;  Gaine  and  Ten-Eyck,  No.  148  Pearl-street ; 
John  Black,  No.  5  Cedar-street;  Alex.  Somerville,  No.  114  Maiden- 
lane;  and  most  other  booksellers  in  the  U.  States.  1800.  [No.  i  of 
a  collection  "The  German  Theatre."  Cf.  47.]  8°  [p.  ii]  t.  adv.,  pp. 
iii-x  "  Ivife  of  Kotzebue  by  himself,"  pp.  9-104.  2  frontispieces 
[Kotzebue,  Hodgkinson.] 

A  translation  (by  William  Dunlap,  New  York)  of :  Der  Wildfang.  Leipzig. 
1798. 


78  Early  Influence  of  German  Literature  in  America. 

68.  [Kotzebue,  A.  F.  F.  von.]  The  Wild  Youth:  a  comedy  for 
digestion.  In  three  acts.  Translated  from  the  German  of  Kotzebue, 
by  Charles  Smith.  New- York:  printed  for  Charles  Smith  and  S. 
Stephens.     1800.         8°.     pp.  74. 

A  translation  (by  Charles  Smith,  New  York)  of :    Der  Wildfang,  Lustspiel  in 

3  Akten.     Leipzig.     1798. 

69.  [Spiess,  C.  H.]  The  Mountain  Cottager;  or,  Wonder  upon 
Wonder.  A  tale.  Translated  from  the  German  of  C.  H.  Spiess. 
"Ye  visions  that  before  me  roll, — that  freeze  my  blood, — that  shake 
my  soul, — are  ye  the  phantoms  of  a  dream?" — H.  M.  Williams. 
Philadelphia:  printed  by  W.  W.  Woodward,  No.  17  Chesnut  Street, 
for  Samuel  Hyndman.  1800.  16°.  pp.  217  (pp.  219-225,  sub- 
scribers' names). 

Reprint  of :  The  Mountain  Cottager,  &c.  [Translated  by  Annabelle  Plump- 
tree?]  London  (Minerva  Press).  1798.  [Probably:  Der  Mausefallen  und 
Hechelkramer.     Prag.  1795?] 

70.  [Sturm,  C.  C]  Beauties  of  Nature  delineated:  or,  Philo- 
sophical and  Pious  Contemplations,  on  the  Works  of  Nature,  and 
the  Seasons  of  the  Year.     Selected  from  Sturm's  Reflections,  by 

.  .  .  T.  M.  Harris.  Charlestown.  1800.  8°. 
This  is  an  adaptation  (by  Thaddeus  Mason  Harris,  Dorchester,  Mass.)  of : 
Reflections  on  the  Work  of  God  and  of  His  Providence,  throughout  all 
Nature,  for  every  Day  in  the  Year.  Translated  first  from  the  German  of  C.  C. 
Sturm  into  French;  and  now  from  the  French  into  English.  By  a  Lady  [Mrs.  S. 
M.  Holroyd?].  3  vols.  Edinburgh.  1788.  (Rearranged,  compressed,  and 
added  to,  by  Thaddeus  M.  Harris. )  [Betrachtungen  iiber  die  Werke  Gottes  im 
Reiche  der  Natur.     17S5.] 

1800?- 1 803. 

71.  [Schiller,  F.  von.]  The  Armenian,  or  the  Ghost  Seer. 
Philadelphia.     2  vols.     i2mo. 

Probably  a  reprint  of :  The  Armenian;  or,  the  Ghost  Seer.  A  history  founded 
on  fact.     Translated  from  the  German  of  F.  Schiller  by  the  Rev.  W.  Render. 

4  vols.     London.     1800. 

1801. 

72.  [Kotzebue,  A.  F.  F  von.]  Abbe  de  I'Epee,  or,  the  Orphan; 
an  historical  drama,  in  four  acts,  translated  from  the  German  of 
Kotzebue.  New- York:  printed  for  Charles  Smith,  No.  56  Maiden 
Lane.     1801.         8°.     pp.  3-42. 

Reprint  of:  Deaf  and  Dumb,  or,  the  Orphan,  &c.  Translated  .  .  .  by  B. 
Thompson.  London.  1801.  [Der  Taubstumme  oder  der  Abb6  de  I'Epee. 
Aus  dem  Franzosischen  von  Bouilly  iibersetzt.     iSoo.] 


Frederick  H.  Wilkens.  79 

73.  [Kotzebue,  A.  F.  F.  von.]  The  Constant  Lover:  or,  William 
&  Jeanette :  a  tale.  From  the  German  of  A.  von  Kotzebue, 
author  of  the  Stranger,  Lovers'  Vows,  Count  Benyowsky  &c.  &c. 
In  two  vols.  Vol.  I.  New-York,  printed  for  and  sold  by  T.  B. 
Jansen  and  Co.  No  248  Pearl  Street  and  C.  Jansen,  and  Co.  No  196 
Water-Street.  1801.  12°.  Vol.  I.  p.  iii  dedication,  pp.  177, 
cont.  [p.  i].     Vol.  II.     . 

Reprint  of:        The  Constant  Lover,  &c.     1799.    Cf.  41. 

74.  [Kotzebue,  A.  F.  F.  von.]  False  Shame;  a  comedy,  in  four 
acts,  translated  from  the  German  of  Kotzebue.  Newark — Printed  by 
John  Wallis,  for  Charles  Smith,  No.  56  Maiden-Lane,  New-York. 
1801.     8°.     pp.  3-63. 

Reprint  of:        False  Shame,  a  comedy  &c.     London.     1799.     Cf.  53. 

75.  [Kotzebue,  A.  F.  F,  von.]  Fraternal  Discord;  a  comedy,  in 
five  acts.  Translated  from  the  German  of  Kotzebue.  New- York: 
printed  for   Charles    Smith,    No.    52    Maiden-Lane.     1801.         8°, 

PP-  3-74- 

Apparently  a  reprint  of :  The  Reconciliation  :  a  comedy  in  live  acts.  Trans- 
lated .    .    .  [by  C.  LudgerJ.     London.     1799.     [Die  Versohnung.     1798.] 

76.  [Kotzebue,  A.  F.  F  von.]  Sketch  of  the  Life  and  Literary 
Career  of  Augustus  von  Kotzebue;  with  the  Journal  of  his  Tour  to 
Paris,  at  the  Close  of  the  Year  1790.  Written  by  himself.  Trans- 
lated from  the  German  by  Anne  Plumptre.  New- York,  Printed 
and  published  by  M.  Ward  &  Co.  opposite  the  City-hall.  1801. 
i2mo.  pp.  276. 

Reprint  of:  Sketch  of  the  Life  &c.  London.  1800.  [Meiu  literarischer 
Lebenslauf,  in:  Die  jiingsten  Kinder  meiner  Laune,  I793-I797>  Bd.  5;  Meine 
Flucht  nach  Paris  im  Winter  1790.     Leipzig.     1791.] 

77.  [Kotzebue,  A.  F.  F.  von.]  The  Stranger,  a  drama.  By 
A.  von  Kotzebue.  Philadelphia.  1801.  (Phila.  Library  Co.  Cata- 
logue.    1836.) 

Probably  reprint  of  an  English  translation  of  Kotzebues  Menschenhass  u. 
Reue. 

78.  [Kotzebue,  A.  F.  F.  von.]  The  Writing  Desk;  or  Youth 
\\\  Danger.  A  play,  in  four  acts,  from  the  German  of  Kotzebue. 
New- York:  printed  for  Charles  Smith,  No.  56  Maiden  Lane. 
1801.         8".     pp.  3-72  [misprinted  27]. 

Probably  a  reprint  of:  The  Writing  Desk,  &c.  London.  1799.  [Das 
Schreibpult.     1800.] 


8o  Early  Influence  of  German  Literature  in  America. 

79.  [Lewis,  M.  G.]  Tales  of  Wouder;  written  and  collected  by 
M.  G.  Lewis,  Esq.  .  .  .  In  two  vols.  New  York:  printed  by 
L.  Nichols  &  Co,  for  Samuel  Campbell,  bookseller,  No  124  Pearl- 
street.         12°.     1 801.     Vol.  I,  pp.  236,  Vol.  II,  pp.  246. 

Reprint  of:  Tales  of  Wonder,  &c.  2  vols.  London.  1800.  This  collection 
contains  Erlking,  Fisherman  (Goethe),  Frederick  and  Alice  (Walter  Scott, 
from  the  German),  The  Wild  Huntsman  (Biirger,  tr.  by  Scott),  Lenora 
(Biirger). 

80.  [Pestalozzi,  J.  H.?]  Leonard  and  Gertrude;  from  the  Ger- 
man,    Philadelphia,     1801. 

Apparently  a  reprint  of:  Leonard  and  Gertrude;  a  popular  story;  written 
originally  in  German,  translated  into  French,  and  now  attempted  in  English, 
with  the  hope  of  its  being  useful  to  the  lower  orders  of  society.  London.  iSoi. 
(Bath,  1800?)     [Probably  Pestalozzi's  "  Lienhard  und  Gertrud."     1781-87.] 

81.  [Sturm,  C.  C]  Beauties  of  Nature  delineated;  or,  Philo- 
sophical and  Pious  Contemplations  on  the  Works  of  Nature,  and  the 
Seasons  of  the  Year.  Selected  from  Sturm's  Reflections,  by  the  Rev. 
Thaddeus  M,  Harris.  .  .  ,  Second  edition.  Published  agreeably 
to  act  of  Congress,  Charlestown:  printed  and  sold  by  Samuel 
Etheridge.  1801.  16°.  pp.  iii-v.  pref.  [by  T.  M.  H.],  p,  vi 
adv.  "to  this  second  edition"  [by  T,  M,  H.],  pp.  vii-x  cont., 
11-237.     culs-de-lampe. 

An  adaptation  of :  Reflections  on  the  Work  of  God  &c.     Cf.  70. 

82.  [Wachter,  G.  P.  L.  L;  pseud.  Veit  Weber.]  The  Black 
Valley;  a  tale,  from  the  German  of  Viet  [sic]  Weber,  author  of  the 
Sorcerer.  Alexandria :  printed  by  S.  Snowden  &  Co,  for  J,  V. 
Thomas.     1801.         16°.     pp.  3-172. 

Probably  a  reprint  of :  The  Black  Valley;  a  tale,  from  the  German  of  Veit 
Weber.     London.     1796.     [From:   Sagen  der  Vorzeit.     1787-99.] 

1801? 

83.  [Kotzebue,  A.  F.  F.  von.]  Life,  written  by  himself.  Phila- 
delphia.    [1801  ?] 

Probably  reprint  of :  Sketch  of  the  Life  and  Literary  Career  &c.  London. 
1800.     Cf.  76. 

1802 

84.  EHza;  or,  the  Pattern  of  Women.  A  moral  romance.  Trans- 
lated from  the  German  of  Maria  Regina  Roche,  authoress  of  the 
"Children  of  the  Abbey,  Nocturnal  Visit,  Maid  of  the  Hamlet," 


Frederick  H.   Wilkens.  8i 

&c  .    .    .      Lancaster,  printed  by  Henry  Grimier,  for  Chr.  Tac.  Hut- 
ter.     1802.         12°.  pp.  3-178. 

There  seems  to  be  no  work  of  this  name  by  M.  R.  Roche. 

85.  [Gessner,  S.]     The  Death  of  Abel.     In  five  books,  from  the 
German  of  Gessner,  [engraving]  with  New  Idyls.     Philadelphia- 
Prmted  by  Thos.  I,.  Plowman.     1802.     [engraved  title.]        8°     pp 
vii  a.  pref,  ix-xi  t.  pref.,  275.     frontispiece  [portrait  of  Gessner]" 
culs-de-lampe.     (The  Death  of  Abel,  pp.  1-150.) 

[Separate  title,  p.  151.]  New  Idyls,  by  S.  Gessner.  With  a  Let- 
ter to  M.  Fuslin,  on  Landscape  Painting;  and  the  Two  Friends  of 
Bourbon.  By  M.  Diderot.  [p.  153]  t.  adv.  [pp.  155-156]  cont, 
PP  157-275. 

Mar>'  Collyer's  translation  of  the  Death  of  Abel.  London.  1761  Cf.  i-  and 
reprint  of:       New  Idyls.     Translated  by  William  Hooper.     1776.     Cf.  86.  ' 

86.  [Gessner,  S.]  New  Idylls:  or  Pastoral  Poems.  By  S  Gess- 
ner. Author  of  the  Death  of  Abel.  To  which  is  added,  a  Letter 
on  Landscape  Painting,  and  the  Two  Friends  of  Bourbon.  Phila- 
delphia: printed  for  William  Duane,  and  published  at  the  Aurora 
Book-stores,  No  106,  Market  Street,  Philadelphia;  and  Square 
460  Pennsylvania  Avenue,  Washington  City.  [John  Bioren,  prin- 
ter.]    1802.         12°.  pp.  177. 

Reprint  of:  New  Idyls,  by  S.  Gessner.  With  a  Letter  &c.  Translated  by 
W.  Hooper.     M.  D.     London.     1776.     [Neue  Idyllen.     1772.] 

87.  [Gessner,  S.]     New  Idyls.     Cf.  85. 

88.  Kotzebue,  A.  F.  F.  von.]  Lovers'  Vows:  or,  the  Natural 
Son;  a  comedy,  in  five  acts.  Translated  from  the  German  of  Augus- 
tus von  Kotzebue,  by  Benjamin  Thompson,  Esq.  Baltimore: 
printed  for  Thomas,  Andrews  &  Butler.  By  John  W.  Butler,  cor- 
ner of  Gay  &  Water  Streets.     1802.         8°.     pp.  3-66. 

Reprint  of  :  Lovers'  Vows,  &c.  In:  Benjamin  Thompson,  The  German 
Theatre.     Vol.  2.     1801.     [Das  Kind  der  Liebe.     1791]. 

89.  [Kotzebue,  A.  F.  F.  von]  The  most  Remarkable  Year  in 
the  Life  of  Augustus  von  Kotzebue;  containing  an  Account  of  his 
Kxile  into  Siberia  and  of  the  other  extraordinary  Events  which  hap- 
pened to  him  in  Russia.  Written  by  himself  Translated  from  the 
German  by  the  Rev.  Benjamin  Beresford,  English  Lecturer  to  the 
Queen  of  Prussia.    New  York:  printed  for  H.  Caritat,  bookseller  and 


82  Early  Influence  of  German  Literature  in  America. 

librarian,  No.  i  Tontine  Building,  Broad-way.     By  G.  F.  Hopkins. 
1802.         16°.    pp.  vii,  309. 

Reprint  of :  The  most  Remarkable  Year  &c.  3  vols.  London.  1802. 
[Das  merkwiirdigste  Jahr  meines  Lebens.     iSoi.] 

90.  [Kotzebue,  A.  F.  F.  von.]  The  Pigeon,  a  tale.  Translated 
from  the  German  by  a  Philadelphian.     Philadelphia.     1802.         8" 

Apparently  a  translation  of:  Die  Taube.  In:  "Die  jiingsten  Kinder 
meiner  Laune.     1793-97.     Vol.  3. 

91.  [Kotzebue,  A.  F.  F.  von.]  The  Stranger,  a  drama,  by 
Augustus  von  Kotzebue.  12°.  pp.  3-70.  [Select  Plays,  &c  Bal- 
timore.    1802-04.     Vol.  I.    (1802.)    Cf.  95.] 

Reprint  of :  The  Stranger:  a  drama  in  five  acts.  Translated  from  the  German 
by  Benjamin  Thompson.  In  Benjamin  Thompson:  German  Theatre.  Vol.  i. 
1801.     [Menschenhass  und  Reue.     1789-]'' 

92.  [Schiller,  F.  von.]  Cabal  and  L,ove,  a  tragedy,  by  Frede- 
rick Schiller.  12°.  pp.  3-103.  [Select  Plays,  &c.  Baltimore. 
1802-04.     Vol.2.     (1802.)    Cf.  915.] 

Reprint  of  :  Cabal  and  Love.  A  tragedy.  Translated  from  the  German  of 
Frederick  Schiller.  [By  J.  H.  Timaeus?]  London.  1795.  [Kabale  und  Liebe. 
1784.] 

93.  [Schiller,  F.  von.]  Fiesco,  a  tragedy,  by  Frederick  Schiller. 
12°.  pp.  3-120.  [Select  Plays,  &c.  Baltimore.  1802-04.  Vol.  2. 
(1802)     Cf.  95-] 

Reprint  of  :  Fiesco;  or  the  Genoese  Conspiracy:  A  tragedy.  Translated  from 
the  German  of  Frederick  Schiller.  By  J.  H.  N[oehden]  and  J.  S[toddart]. 
London.     1796.     [Die  Verschworung  des  Fiesco  zu  Genua.     1783- J 

94.  [Schiller,  F.  von.]  The  Robbers.  A  tragedy,  by  Frederick 
Schiller.  16°.  pp.  5-108.  [Select  Plays,  &c.  Baltimore.  1802- 
04.     Vol.  2  (1802).     Cf.  95.] 

Reprint  of  :  The  Robbers.  A  tragedy,  in  five  acts.  Translated  from  the 
German  of  Frederick  Schiller.  By  Benjamin  Thompson.  London.  iSoo.  In: 
Benjamin  Thompson.  German  Theatre.  London.  1801.  Vol.  5.  [Die 
Rauber.     1781.] 

95.  Select  Plays,  from  Celebrated  Authors;  performed  at  the 
principal  Theatres  in  the  United   States  of  America.     Baltimore 

a)  Note.  In  a  list  at  the  end  of  "John  Tobin.  The  Curfew.  Baltimore. 
Warner  &  Hanna  [date?]  "  the  publishers  advertise  for  sale:  Cabal  and  Love 
(Cf.  92),  Count  of  Burgundy,  Fiesco  (Cf  93),  False  Shame,  Fraternal  Discord. 
These  are  possibly  all  their  own  publications. 


Frederick  H.  Wilkens.  83 

printed  and  sold,  by  Warner  &  Hanna.     1802-1804.    6  vols.         16°. 
Vol.  I.  (1802,)   contains:  Kotzebue,  A.  F.  F.  von.     The  Stranger. 
(Cf.  91.)     Vol.  II  (1802)  contains:  Schiller,  F.  von.     The  Robbers. 
(Cf.  94.)  Fiesco.     (Cf.  93.)     Cabal  and  Love.     (Cf.  92.) 
The  plays  in  this  collection  seem  also  to  have  been  sold  singly. 

96.  [Zschokke,  J.  H.  D.]  Abaellino,  the  Great  Bandit.  Trans- 
lated from  the  German,  and  adapted  to  the  New-York  Theatre.  By- 
William  Dunlap,  Esq.  Copyright  secured.  New- York :  published 
by  D.  lyongworth,  at  the  Shakspeare  Gallery,  near  the  Theatre.  I,. 
Nichols,  Printer.     1802.         16°.    pp.  3-82. 

A  translation  and  adaptation  (by  William  Dunlap,  New  York)  of:  Aballino, 
der  grosse  Bandit.     Ein  Trauerspiel.     1795. 

1803. 

97.  [Haller,  A.  von.]  Letters'from  Baron  Haller  to  his  Daughter, 
on  the  Truths  of  the  Christian  Religion.  Translated  from  the 
German.  First  American  from  fourth  London  edition.  Printed  for 
and  sold  by  Increase  Cooke  &  Co.  New-Haven.  Sold  also  by  the 
principal  booksellers.  Sidney's  Press,  1803.  16°.  pp.  iii-xv  t. 
pref.,  xvii-xxi  cont.,  23-279.     frontispiece. 

Apparently  reprint  of  :  The  Letters  of  Baron  Haller  &c.  London.  17S0. 
[Briefe  (eines  Vaters  an  seine  Tochter)  iiber  die  wichtigsten  Wahrheiten  der 
Offenbarung.     Bern.     1772.] 

98.  [Kotzebue,  A.  F.  F.  von.]  The  Beautiful  Unknown,  a 
dramatic  history.  Translated  from  the  German  of  Augustus  von 
Kotzebue.  By  Charles  Smith.  New-York:  published  by  Burnton 
and  Darling,  116,  Broad-way.  Deare  and  Andrews,  printers.  1803. 
16°.    pp.  3-50. 

A  translation  (by  Charles  Smith,  New  York)  of:  Die  schone  Unbekannte. 
Kleine  gesammelte  Schriften.  Vol.  i.  1787.  Some  if  not  all  copies  are  bound 
with  Smith's  translation  of  the  same  author's  Zaide.     Cf.  100. 

99.  [Kotzebue,  A.  F.  F.  von.]  Count  Benyowsky;  or,  the  Con- 
spiracy of  Kamtschatka :  A  tragi-comedy,  in  five  acts.  Translated 
from  the  German  of  i^.ugustus  von  Kotzebue,  by  the  Rev.  W.  Render, 
Teacher  of  the  German  language  in  the  University  of  Cambridge. 
Baltimore:  printed  for  Thomas,  Andrews  &  Butler  by  John  W. 
Butler,  corner  Gay  &  Water  Streets.     1803.         8°.     pp.  3-76. 

Reprint  of  :  Count  Benyowsky,  &c.  London.  1798.  [Graf  Benyowsky. 
1795- ] 


84  Early  Influence  of  Germayi  Literature  in  America. 

loo.  [Kotzebue,  A.  F.  F.  von.]  Zaida;  or,  the  Dethronement  of 
Muhamed  IV.  A  novel,  founded  on  historic  facts.  Translated 
from  the  German  of  Augustus  von  Kotzebue.  By  Charles  Smith. 
Copyright  secured.  New  York:  published  by  Burnton  and  Darl- 
ing, ii6,  Broad-way.  Dean  and  Andrews,  printers.  1803.  16°. 
[p.  3.]  t.  pref.,pp.  5-213. 

A  translation  (by  Charles  Smith,  New  York)  of:  Zaide,  oder  die  Entthro- 
nung  Muhameds  IV.,  historische  Novelle.  Leipzig.  17S6.  Some,  possibly 
all,  copies  have  bound  after  "Zaida"  "The  Beautiful  Unknown,"  of  same 
author  and  translator.     Cf  98. 

loi.  [Zollikofer,  G.  J.]    Exercises  of  Piety  .    .    .Abridged.    .    . 
byT.  M.  Harris,  etc.     Worcester,  Mass.     1803.         12° 

Probably  an  abridgment  of :  Exercises  of  Piety;  for  the  Use  of  Enlightened 
and  Virtuous  Christians.  Translated  from  the  French  edition  by  J.  Manning. 
London.  1796.  [Andachtsiibungen  und  Gebete  zum  Privatgebrauch  fiir  nach- 
denkende  und  gut  gesinnte  Christen.     1785.] 

1803  or  before  * 

102.  [Campe,  J.  H.]  The  New  Robinson  Crusoe.  Philadelphia. 
12°. 

Probably  reprint  of:       The  New  Robinson  Crusoe;  &c    London.    1788.   Cf  12. 

103.  (Gessner,    S.]    The  Death  of  Abel  and  Caine.     Newbury- 

port.         18°. 

Possibly  Marj'  Collyer's  translation  of  the  Death  of  Abel,  London,  1761. 
Cf.  I.     The  Death  of  Cain  possibly  identical  with  print  20. 

104.  [Salzmann,  C.  G.]  Elements  of  Morality,  from  the  Ger- 
man.    New  York.     12°. 

Probably  a  reprint  of  :       Elements  of  Morality,  &c.    London.     1790.     Cf  29. 

105.  [Zimmermann,  J.  G.]  On  Solitude,  with  respect  to  its 
Influence  upon  the  Mind  and  Heart.     New  York.     8°. 

Apparently  reprint  of  :       Solitude,  &c.     London.     1791.     Cf  23. 

1803  or  before? 

106.  [Lavater,  J.  K.]  Essays  on  Physiognomy;  for  the  Promo- 
tion of  the  Knowledge  and  the  Love  of  Mankind;  written  in  the 
German  language  by  J.  C.  Lavater,  abridged  from   Mr.  Holcroft's 

a)  Note.  The  titles  of  prints  102-105  were  taken  from  the  "  Catalogue  of  all 
the  Books  printed  in  the  United  States.  Published  by  the  Booksellers  in  Boston. 
Jan.  1804."  (Also  republished,  in  "A.  Growoll,  Book-Trade  Bibliography. 
New  York.     1898.") 


Frederick  H.  Wilkens.  85 

translation.  [Engraving.  "  Lavater  contemplating  a  bust."].  Bos- 
ton, printed  for  William  Spotswood,  &  David  West.  16°.  pp. 
272.     7  plates  [each  with  6  heads.] 

Possibly  identical  with:  Lavater's  Physiognomy,  abridged,  plates.  Boston. 
12°.  (American  Catalogue  of  1804,  cf.  102,  note.)  Reprint  of  an  abridgment 
[1793?]  of:  Essays  on  Physiognomy.  Translated  from  the  German  by 
Thomas  Holcroft.  3  vols.  London.  1789-93.  [Physiognomische  Fragmente. 
1775-1778.] 

1804. 

107.  [Zimmermann,  J.  G.]  Solitude  considered  with  respect  to 
its  Influence  on  the  Mind  and  the  Heart.  Written  originally  in 
German,  by  M.  Zimmermann,  Aulic  Counsellor  and  Physician  to 
His  Britannic  Majesty  at  Hanover.  Translated  from  the  French  of 
J.  B.  Mercier.  To  which  is  prefixed  the  Life  of  Zimmerman.  Bos- 
ton: printed  for  Joseph  Bumstead,  (printer  and  bookseller).  Sold 
by  him  at  No.  20,  Union-street  and  by  booksellers  in  various  parts 
of  the  United  States.     1804.         16°.     pp.  xxviii,  307. 

Apparently  reprint  of  :        Solitude  considered  &c.    London.     1791.     Cf.  23. 

1805. 

108.  [Goethe,  J.  W.  von]  Herman  and  Dorothea.  A  poem, 
from  the  German  of  Goethe,  by  Thomas  Holcroft.  Richmond: 
printed  at  the  Enquirer  Press.  1805.  16°.  pp.  xiv  t.  pref.,  133 
(i  13-133,  notes).     I  pi. 

Reprint  of:  Herman  and  Dorothea.  &c.  London.  1801.  [Hermann 
und  Dorothea.     179S.] 

109.  [Knigge,  A.  F.  F.  L.  von.]  Practical  Philosophy  of  Social 
lyife;  or,  the  Art  of  conversing  with  Men:  after  the  German  of  Baron 
Knigge.  By  P.  Will,  Minister  of  the  Reformed  German  Congrega- 
tion in  the  Savoy.  First  American  edition.  Lansingburgh:  pub- 
lished by  Penniman  &  Bliss,  and  sold  by  them  at  the  Lansingburgh 
Bookstore,  O.  Penniman  &  Co.  Printers  Troy,  1805.  8°.  pp.  III- 
vii  t.  pref.  [May  18,  1799.],  vii-xvi  introd.,  xvii-xxxii  cont., 
368, 

Reprint  of:  Practical  Philosophy  &c.  London.  1799.  [Uber  den  Uuigang 
mit  Menschen.      1788.] 

no.  [Schiller,  F.  von.]  Wallenstein.  A  drama  in  two  parts. 
Translated  from  the  German  of  Frederick  Schiller  by  S.  T.  Cole- 
ridge. New  York:  published  by  David  Longworth,  Dramatic  Re- 
pository, No.  II.  Park.  1805.  16°.  [p.  7]  t.  pref.,  pp.  9-173- 
(The  Piccolomini.) 


86  Early  Influeyice  of  Germaji  Literature  in  A7nerica. 

Reprint  of  :  The  Piccolomini;  or  the  First  Part  of  Wallenstein.  A  drama 
in  five  acts.  Translated  &c.  London.  iSoo.  [Wallenstein,  ein  dramatisches 
Gedicht.  1800.  Die  Piccolomini.]  "The  Death  of  Wallenstein"  was  ap- 
parently not  reprinted. 

1806. 

111.  [Gessner,  S.J  The  Death  of  Abel.  Translated  by  Mrs. 
Collyer.        Philadelphia.     1806. 

Marj'  Collyer's  translation.     London.     1761.     Cf.  i. 

112.  [Gessner,  S.]  The  Death  |of  Abel,  in  five  books,  trans- 
lated from  the  German  of  Mr.  Gesner  by  Mrs.  Collyer.  New  York, 
J.  &  T.  Ronalds.  [1806.]  [No.  3  of  a  series  "  Sacred  Classics  "  in 
imitation  of  Cooke's  Classics.] 

Mary  Collyer's  translation.     London.     1761.     Cf.  i. 

113.  [Zschokke,  J.  H.  D.]  Abellino.  The  Venetian  Outlaw. 
A  drama.  Translated  and  adapted  to  the  English  stage  by  R.  W. 
Elliston.     New  York.     1806. 

Reprint  of :  Abellino,  &c.  London.  1805.  [From  the  French  trans- 
lation of:        Abaellino,  der  grosse  Bandit.     Ein  Trauerspiel.     1795.] 

1806? 
w:^.  [Kotzebue,    adapted    from    K.'s  Wildfang.]     Of   Age  to- 
morrow.    By  Thomas    Dibdin.     New  York.     David    Longworth. 
[1806?  J 

Reprint  of :  Of  Age  tomorrow,  &c.  London.  1806.  [Der  Wildfang. 
1798.] 

1806— 1816. 

114.  [Dunlap,  William]  The  Dramatic  Works  of  William  Dun- 
lap.     3  vols.     Philadelphia  and  New  York.     1806-1816.         16°. 

Do  vols  2,  3  contain  translations  from  the  German?  Vol.  i  does  not. 
Thomas  J.  McKee  in  his  edition  of  Dunlap's  "  Father  of  American  Shandyism  " 
(Publications  of  the  Dunlap  Society,  Vol.  2,  p.  xi)  says  :  "  Projected  publica- 
tion in  10  volumes,  only  four  appear  to  have  been  published." 

1807. 

115.  The  Devil  and  Dr.  Faustus,  containing  the  History  of 
the  wicked  I^ife  and  horrid  Death  of  Dr.  John  Faustus,  etc.  Mont- 
pelier,  Vt.     1807.         12°     pp.  12. 

Presumably  a  reprint  or  adaptation  of  one  of  the  English  chap-books  on  the 
subject. 

116.  [Gessner,  S.]  The  Death  of  Abel.  In  five  books,  attemp- 
ted from  the  German  of  Mr.  Gessner.  First  Baltimore  edition,  [cut.] 


Frederick  H,  Wilke7is.  87 

Baltimore:  printed  and  sold  by  Warner  &  Hanna,  at  the  Bible  and 
Heart  Printing  Office.  1807.  16''.  pp.  v-vii  "To  the  Queen," 
viii-xii  a.  pref.,  xiii-xiv  t.  pref.,  15-188. 

S.  Gessner's  New  Idylls  [title  on  p.  189].         pp.  191-252. 

Reprint  of  Mary  Collyer's  translation,  London,  1761,  cf,  i;  and  reprint  of: 
New  Idyls,  &c.     London.     1776.     Cf.  86. 

117.  [Gessner,  S.]     New  Idylls.     Cf.  116. 

118.  [Goethe,  J.  W.  von.]  The  Sorrows  of  Werter.  From  the 
German  of  Baron  Goethe.  A  new  translation,  revised  and  compared 
with  all  the  former  editions.  By  Dr.  Pratt,  [pi.]  New- York:  pub- 
lished by  Richard  Scott,  No.  243  Pearl-street.  M'Farlane  and 
lyong,  printers.     1807.         16°.    pp.  iii-iv  t.  pref.,   100.     i  pi. 

Reprint  of:        The  Sorrows  of  Werter,  &c.     London  ?  [n.  d.] 

119.  [Goethe,  J.  W.  von.]  The  Sorrows  of  Werter.  Translated 
from  the  German  of  Baron  Goethe.  By  William  Render,  D.  D. 
You  weep, — you  love  the  youth, — revere  his  name,  |  And  wish  from 
censure  to  defend  his  fame:  |  But  hark!  "  Be  man  "  his  spirit  seems 
to  say,  I  "Nor  let  my  weakness  tempt  thy  feet  astray!"  |  To  which 
is  annexed,  the  I,etters  of  Charlotte  to  a  female  Friend,  during  her 
Connection  with  Werter.  Boston:  published  by  Andrews  and  Cum- 
mings,  No.  i,  Cornhill.  Greenough  &  Stebbins,  printers.  1807. 
16°.     [pp.  3-4]  adv.,  5-180  (173-180  appendix). 

The  Letters  of  Charlotte,  during  her  Connexion  with  Werter.  pp. 
clxxxiv-clxxxvi,   187-319. 

Reprint  of:  The  Sorrows  of  Werter,  &c.  London.  1801.  [Die  Leiden 
des  jungen  Werthers.  1774.];  and  reprint  of:  The  Letters  of  Charlotte  &c. 
London.     1786.     Cf.  35. 

120.  [Goethe,  J.  W.  von,  suggested  by  G.'s  Werther.]  The 
Letters  of  Charlotte  &c.     Cf.  119. 

121.  [Zollikofer,  G.  J.]  Exercises  of  Piety:  or,  Meditations  on 
the  principal  Doctrines  and  Duties  of  Religion.  Abridged  by  Thad- 
deus  M.  Harris.  Second  edition.  Worcester.  I.  Thomas,  jun. 
1807.         12°  pp.  191. 

Probably  an  abridgement  of :  Exercises  of  Piety.  Translated  by  J.  Man- 
ning.    London.     1796.     Cf  lor. 

122.  [Zollikofer,  G.  J.]  Sermons  on  the  Dignity  of  Man,  and 
the  Value  of  the  Objects  principally  relating  to  Human  Happiness. 
From  the  German  of  the  late  Rev.  George  Joachim  Zollikofer,  Min- 


88  Early  Influence  of  German  Literature  in  A^nerica. 

ister  of  the  Reformed  Congregation  at  L,eipsick.  By  the  Reverend 
William  Tooke,  F.  R.  S.  In  two  volumes.  Volume  I.  First 
American  edition.  Worcester:  printed  by  Thomas  &  Sturtevant, 
for  Isaiah  Thomas,  jun.  Sold  by  him  in  Worcester,  by  Thomas  & 
Whipple,  Newburyport,  and  by  Thomas  &  Tappan,  Portsmouth. 
1807.     Vol.    I.     pp.   iii-iv  cont.,    vii-ix   a.    pref.,    xi-xxii    "Some 

Account  of  the  Author,"  424.     Vol  II. 

Reprint  of:  Sermons  on  the  Dignity  of  Man,  &c.  London.  1802.  [Pre- 
digten  iiber  die  Wiirde  des  Menschen  und  den  Werth  der  vornehmsten  Dinge 
die  zur  menschlichen  Gliickseligkeit  gehoren  oder  dazu  gerechnet  werden. 
Leipzig.     1784.] 

1808. 

123.  [Gessner,  S.]  The  Death  of  Abel.  In  five  books.  Trans- 
lated from  the  German  of  Mr.  Gessner.  By  Mrs.  Collyer.  To 
which  is  prefixed,  the  Life  of  the  Author.  Philadelphia:  published 
by  B.  and  T.  Kite,  No.  20  N.  Third-street.  1808.  12°.  pp. 
v-lviii  "Life  of  Author,"  lix-lxii  a.  pref.,  Ixv-lxvi  t.  pref.,  67-204. 
frontispiece  [portrait  of  Gessner]. 

Mary  Collyer's  translation  of  the  Death  of  Abel.  London.  1761.  Cf.  i. 
"An  Account  of  the  Life  and  Writings  of  Solomon  Gessner,  taken  from  the 
German  of  M.  Hottinguer,  by  James  Agar,"  pp.  v-lviit,  is  contained  also  in 
Cooke's  edition  of  the  Death  of  Abel,  London,  [1796],  from  which  the  Ameri- 
can edition  may  be  a  reprint. 

124.  He  loves  me  more  than  his  Life;  or  Ludwig,  Clara  and  Ran- 
dolph. A  tale  from  the  German.  [The  Minor  Novelist.  No.  2. 
Published  and  sold  by  Wright,  Goodenow  &  Stockwell.  Boston, 
and  Troy,  N.  Y.     1808.] 

125.  [Kotzebue,  A.  F.  F  von,  adapted  from  K.'s  Wildfang.] 
Of  Age  to  morrow.  By  Thomas  Dibdin.  New  York.  David  Long- 
worth.     1808. 

Reprint  of:         Of  Age  to  morrow.  &c.     London.     1806.     Cf.  113''. 

126.  [Sonnleithner,  J.,  adapted  from  S.'s  Leonore.]  The  Fort- 
ress of  Sorrento  :  a  petit  historical  drama,  in  two  acts.  .  .  .  New- 
York:  published  by  D.  Longworth,  at  the  Dramatic  Repository, 
Shakspeare — Gallery.  1808.  16°.  [p.  2]  copy-right,  [p.  3]  a. 
statement,  pp.  5-28. 

"The  leading  features  of  the  following  drama  are  taken  from  the  French 
opera  of  Leonora"  (author's  statement).  An  adaptation  (with  very  slight 
changes)  of  Sonnleithner's  opera  text  Leonore  [i.  e.  Fidelio,  music  by  Beeth- 
oven]. Sonnleithner's  text  is  founded  on  Jean-Nicolas  Bouilly's  comic  opera 
"Leonore  ou  I'Amour  Conjugal." 


Frederick  H.  Wilkens.  89 

127.  [Zimmermann,  J.  G.]  Solitude  considered  with  respect  to 
its  Influence  upon  the  Mind  and  the  Heart.  Written  originally  in 
German  by  M.  Zimmermann,  Aulic  Councillor  and  Physician  to  His 
Britannic  Majesty  at  Hanover.  Translated  from  the  French  of  J. 
B.  Mercier.  New  London.  Printed  by  Cady  &  Eells,  for  Thomas 
&  Whipple.     Newburyport.     [1808.] 

Apparently  reprint  of  :         Solitude  &c.  London.    1791.     Cf.  23. 

128.  [Zollikofer,  G.  J,]  Caution  against  the  Sins  of  Unchastity. 
Earnestly  recommended  to  the  attention  of  the  young  men  of  this 
town  and  other  places;  by  one  who  feels  a  deep  interest  in  their 
present  and  eternal  welfare.  Boston:  printed  by  Greenough  and 
Stebbins,  Suffolk  Buildings,  Congress  Street.  1808.  12°.  [p.  2] 
adv.  [of  American  editor],  pp.  48. 

"Two  discourses  of  one  of  the  most  pious  and  amiable  divines  that  ever  lived, 
the  German  Zollikofer  "  (adv.)  Possibly  from  Sermons  on  the  Great  Festivals 
and  Fasts  of  the  Church  &c.  From  the  German  of  Rev.  G.  J.  Zollikofer.  By 
the  Rev.  William  Tooke.  2  vols.  London.  1807.  ["  Warnung  vor  den  Siiuden 
der  Unkeuschheit "  in  "  Einige  Betrachtungen  iiber  das  tJbel  in  der  Welt,  und 
andere  Predigten."  1777.]  (Are  these  the  "Sermons  to  Young  Men  "  pub- 
lished at  Rev.  Joseph  Buckminster's  expense?  Cf.  Eliza  Buckminster  Lee, 
Memoirs  of  Dr.  Joseph  Buckminster.     2d  ed.     Boston.     1851.     p.  489. ) 

1808?*) 

129.  [Kotzebue,  A.  F.  F.  von]  The  Rights  of  Hospitality.  By 
Kotzebue.     New  York.     David  Long  worth.     [1808?] 

Probably  a  reprint  of:  The  Wanderer;  or,  the  Rights  of  Hospitality.  Altered 
by  C.  Kemble.     London.     1808     [Eduard  in  Schottland.     1804.] 

130.  [Kotzebue,  A.  F.  F.  von]  The  Stranger.  By  Kotzebue. 
Translated  by  Benjamin  Thompson.  New  York.  David  Long- 
worth.     [1808?] 

Reprint  of:        The  Stranger  &c.    London.    iSoi.    Cf.  91. 

131.  [Schiller,  F.  von]  The  Robbers.  By  Frederick  Schiller. 
New  York.     David  Longworth.     [1808?] 

Probably  a  reprint  of  one  of  the  English  translations  of  Schiller's  Robbers. 
Cf.  22,  94. 

»)  No.  129-131  are  mentioned  as  "  published  by  David  Longworth  "  in  his  lists 
of  his  publications.  The  date  can  be  determined  from  their  position  in  these 
lists.  They  may  be  regarded  as  distinct  from  the  other  prints  mentioned  in  our 
enumeration. 


90  Early  Influence  of  German  Literature  in  America. 

1809. 

132.  [Kotzebue,  A.  F.  F.  von.]  Fraternal  Discord:  a  drama  in 
five  acts.  Altered  from  the  German  of  A.  von  Kotzebue.  By  W. 
Dunlap.     New  York.     D.  Longworth.     1809.         16°.    pp.  69. 

A  translation  (by  William  Dunlap,  New  York)  of:  Die  Versohnung. 
Scliauspiel  in  5  Akten.     Leipzig.     179S. 

133.  [Kotzebue,  A.  F.  F.  von.]  Lovers'  Vows;  a  play,  in  five 
acts.  Altered  from  the  translations  of  Mrs.  Inchbald  and  Benjamin 
Thompson.  By  J.  H.  Payne.  Baltimore:  printed  by  Geo.  Dobbin 
and  Murphy,  No.  10,  Baltimore  Street.  1809.  16°  •  pp.  iii-vii. 
adv.  (by  J.  H.  Payne),  9-90. 

An  adaptation  from  Mrs.  Inchbald's  version  of  Lovers'  Vov?s  (London, 
179S.)  and  B.  Thompson's  translation  (cf.  88).  [Das  Kind  der  Liebe.  1798.] 
"  The  present  copy  of  Lovers'  Vows  is  .  .  .  made  up  of  Thompson's  Frederick 
and  Agatha;  Mrs.  Inchbald's  Verdun,  Anhalt,  and  Amelia;  while  in  forming 
Count  Cassel  and  the  Baron,  sometimes  the  former  and  sometimes  the  latter 
version  has  been  adopted.  In  many  instances,  however  the  compiler  has  taken 
the  liberty  to  differ  from  both."     (Preface  by  J.  H.  Payne). 

134.  [Kotzebue,  A.  F.  F  von.]  Pizarro;  a  tragedy  in  five  acts. 
Taken  from  the  German  drama  of  Kotzebue;  and  adapted  to  the 
English  stage.     By  Richard  Brinsley  Sheridan.     Boston,     1809, 

Reprint  of:        Pizarro;  &c.     London.     1799.     ^f-  45- 

135.  [Lewis,  M.  G.]  Romantic  Tales,  by  M,  G.  Lewis,  author 
of  the  Monk,  Adelgitha  &c.  In  two  volumes.  .  .  .  Volume 
the  first,  containing  Mistrust;  or,  Blanche  and  Osbright.  The  Ad- 
miral Guarino.  King  Rodrigo's  Fall,  Bertrand  and  Mary-Belle. 
The  Lord  of  Falkenstein.  Sir  Guy,  the  Seeker,  The  Anaconda. 
The  Dying  Bride.  The  four  Facardins,  part  I,  New-York:  printed 
for  M.  &  W,  Ward,  149  Pearl-street.     1809. 

Volume  the  second,  containing  the  Four  Facardians,  part  II. 
Oberon's  Henchman,  or  the  Legend  of  the  Three  Sisters.  My  Uncle's 
Garret-window.  Bill  Jones,  Amorassan,  or  the  Spirit  of  the  Frozen 
Ocean,     12°.     Vol.  I.  pp.  5-1 1  pref.,  347.     Vol.  II     pp.  . 

Reprint  of:  Romantic  Tales.  4  vols.  London.  1808.  Mistrust,  The  Ana- 
conda, My  Uncle's  Garret-window,  Amorassan,  Bertrand  and  Mary-Belle,  The 
Lord  of  Falkenstein  are  taken  from  the  German  or  partly  suggested  by  German 
works  (M.  G.  Lewis  in  preface). 

136.  [Zollikofer,  G.  J,]  Sermons  on  Education,  From  the  Ger- 
man of  the  Rev.  George  Joachim  Zollikofer,     Boston :  printed  by 


Frederick  H.   Wilkens.  91 

Thomas  B.  Wait  &  Co.     Court-street.     1809.     8°.  pp.  123.     [The 
Christian  Monitor.     Boston.     1806-10.    Vol.  ix.] 

Reprint  of:  Sermons  on  Education,  from:  Sermons  on  Education,  on 
Reflection,  on  the  Greatness  of  God  in  the  Works  of  Nature,  and  in  the  Gov- 
ernment of  the  World,  on  Charity,  and  various  other  Topics;  from  the  German 
of  the  Rev.  George  Joachim  Zollikofer.  By  the  Rev.  Wilham  Tooke.  2  Vols. 
London.  1806.  [These  sermons  also  occur  with:  Prefixed,  a  Sermon  on 
Parental  Example,  by  G.  Warker.] 

137.  [Zollikofer,  J.  G.]  Seven  Sermons  on  the  Reformation,  by 
George  J.  Zollikofer.  Translated  from  the  German  by  Rev.  W. 
Tooke.  With  some  Account  of  the  Author.  From  the  second  Lon- 
don edition.  Published  by  W.  Wells,  No.  6,  Court  Street,  Boston. 
Printed  by  Hilliard  &  Metcalf,  Cambridge.  Jan.  1809.  8°.  pp. 
vii-xvi  "Some  Account  of  the  Author,"  93. 

[Theological  Tracts.  No.  i.  Containing  Zollikofer' s  Seven  Ser- 
mons on  the  Reformation.] 

Apparently  reprint  of  seven  sermons  from :  Sermons  on  the  Great  Fes- 
tivals and  Fasts  of  the  Church,  on  other  solemn  Occasions,  and  on  various 
Topics.  From  the  German  of  the  Rev.  George  Joachim  Zollikofer.  By  the 
Rev.  William  Tooke.  2  vols.  London.  1807.  This  collection  contains  eight 
Sermons  on  Reformation  Anniversaries. 

138.  [Zschokke,  J.  H.  D.]  Abaellino,  the  Bravo  of  Venice;  a 
romance:  translated  from  the  German  by  M.  G.  Lewis.  .  .  .  The 
first  American,  from  the  fifth  London  edition.  Baltimore:  printed 
and  sold  by  Warner  &  Hanna,  and  John  Vance  &  Co.  1809.  12°. 
[p.  iii]  dedication,  v-vi  adv.,  vii-viii  Cont.,  299. 

Reprint  of:  The  Bravo  of  Venice;  a  romance,  translated  from  the  German 
by  M.  G.  Lewis.  London.  1805.  (Fifth  edition,  1807.)  [Abaellino,  der  grosse 
Bandit.     1794.] 

139.  [Zschokke,  J.  H.  D.]  Abaellino,  the  Bravo  of  Venice;  a 
romance,  translated  from  the  German.  By  M.  G.  Lewis.  Boston; 
O.  C.  Greenleaf.     [1809.]     18°.     pp.  299. 

Reprint  of:  The  Bravo  of  Venice,  &c.  London.  1805.  Cf.  138.  The 
English  original  (2  ed.),  like  138  and  139,  has  299  pages. 

1810. 

140.  [Klopstock,  F.  G.,  and  Margaret  K.]  Memoirs  of  Fred- 
erick and  Margaret  Klopstock.  Translated  from  the  German. 
Philadelphia:  published  by  Philip  H.  Nicklin  &  Co.,  Baltimore; 
Farrand,  Mallory  and  Co.    Boston;  Jacob  Green,  Albany;  Edward 


92  Early  Influence  of  Ger?na7i  Literature  iyi  America. 

Earle,  and  B.  B.  Hopkins  and  Co.  Philadelphia.  Fry  and  Kam- 
merer,  printers.  1810.  12°.  [p.  iii]  adv.,  pp.  v-xii  pref.,  13-252. 
Reprint  of :  Memoirs  of  Frederick  and  Margaret  Klopstock.  Translated 
from  the  German  [by  Miss  Elizabeth  Smith].  Bath.  1S08.  Contains  letters 
and  writings  of  Klopstock  and  his  wife,  besides  a  memoir. 

141.  [Klopstock,  F.  G.]  The  Messiah,  a  poem;  attempted  in 
Knglish  blank  verse;  from  the  German  of  the  celebrated  Mr.  Klop- 
stock. By  Solomon  Hailing,  A.  M.  Rector  of  Prince  George's 
Parish,  Winy  aw.  .  .  .  Georgetown;  printed  by  Francis  M.  Bax- 
ter.    1810.         8°.  pp.  37. 

A  versification  of  the  first  book  of  Klopstock's  Messiah  made,  apparently, 
from  Collyer's  prose  translation.     Cf.  9. 

142,  [Lafontaine,  A.  H.  J.]  The  Village  Pastor  and  his  Chil- 
dren. A  novel.  Four  volumes  in  two.  From  the  German  of  Au- 
gustus La  Fontaine.  .  .  .  Vol.  I.  (From  the  London  edition  of 
1803.)  New-York:  published  by  D.  Longworth,  at  the  Dramatic 
Repository,  Shakespeare-gallery.  1810.  12°.  Vol.  I.  pp.  246, 
[i  p.]  cont.     Vol.  II.  pp.  238,  [i  p.]  cont. 

Reprint  of:  The  Village  Pastor  &c.  London.  1S03.  [Possibly:  Aus 
dem  Leben  eines  armen  Landpredigers.     1800.] 

143.  [Lessing,  G.  E.]  Emilia  Galotti:  a  tragedy,  in  five  acts. 
Translated  from  the  German  of  G.  E.  Lessing,  by  Miss  Fanny  Hol- 
croft.  Published  by  Bradford  and  Inskeep,  Philadelphia;  Inskeep 
and  Bradford,  New- York  ;  Wm.  Mcllhenry,  Boston;  Edward  J. 
Coale,  Baltimore;  and  Morfood,  Willington  and  Co.  Charleston, 
South-Carolina.  J.  Matwell,  printer.  1810.  8°.  [2  columns  per 
page.]  pp.  3-18. 

Emilia  Galotti,  &c.  In:  The  Theatrical  Recorder.  Vol.1.  London.  1805. 
[Emilia  Galotti.     1772.] 

144.  [Vulpius,  C.  A.,  dramatized  from  V.'s  Rinaldo  Rinaldini] 
Rinaldo  Rinaldini;  or,  the  Great  Banditti.  A  tragedy,  in  five  acts. 
By  an  American,  and  citizen  of  New  York.  .  .  .  First  edition. 
New- York,  printed  for  the  author.  18 10.  12°.  pp.  iii-v  address, 
pp.  7-82. 

A  ser\-ile  adaptation  from:  The  History  of  Rinaldo  Rinaldini,  Captain  of 
Banditti.  Translated  from  the  German  of  Vulvius.  By  J.  Hinckley,  Esq. 
Loudon.     1800.     [Rinaldo  Rinaldini.     1797.] 

145.  [Wieland,  C.  M.]  Oberon;  a  poem.  From  the  German  of 
Wieland.      By   William   Sotheby,    Esq.     In  two  volumes.      First 


Frederick  H.   Wilkens.  93. 

American  from  the  third  Ivondoa  edition.  With  a  preface,  contain- 
ing biographical  notices  of  the  author  and  translator,  and  a  review 
of  the  work.  Vol.  I.  Published  by  ly.  Rousmaniere,  Newport,  R. 
I;  and  J.  Belcher,  Boston.  1810.  12°.  Vol.  I.  [copyright],  p.  i 
dedication  of  ist  English  ed.,  pp.  iii-xlviii  pref.  of  American  edi- 
tor, list  of  W.'s  works,  pp.  203.  (canto  1-6).  Vol.  II.  pp.  231. 
(canto  7-12.) 

Reprint  of:  Oberon,  &c.  London.  1798.  [Oberon.  1780.]  The  Hon. 
William  Hunter  of  Newport  (1774-1849)  was  the  American  editor,  and  author 
of  the  preface,  according  to  the  Providence  Atheneum  Catalogue,  1855,  p.  433. 

146.  [Zschokke,  J.  H.  D.,  dramatized  from  Z.'s  Abaellino.] 
Rugantino;  or,  the  Bravo  of  Venice:  a  grand  romantic  melo-drama, 
in  two  acts.  By  M.  G.  Lewis.  First  performed  at  Covent  Garden 
Theatre,  October  i8th,  1809.  .  .  .  New- York:  published  by  D. 
Longworth,  at  the  Dramatic  Repository,  Shakspeare- Gallery,  March 
— 1810.         12°.  pp.  3-36. 

Reprint  of:        Rugantino,  &c.     London.    1805.     [A  dramatization  of: 
Abaellino,  der  grosse  Bandit.     1794.] 

1811. 

147.  [Campe,  J.  H.  ]  An  Abridgment  of  the  New  Robinson 
Crusoe.  Translated  from  the  French.  New  York.  181 1.  (Phila- 
delphia Library  Catalogue.     1835.) 

Evidently  an  abridgment  of:  The  New  Robinson  Crusoe,  &c.  London. 
1788.     Cf.  12. 

148.  [Klopstock,  F.  G.]  The  Messiah:  attempted  from  the  Ger- 
man of  Mr.  Klopstock.  By  Joseph  Collyer.  In  fifteen  books. 
Two  vols.  Boston,  published  by  John  West  and  Co.  No  75  Corn- 
hill.     181 1.         16°.     Vol.  I.  pp.  vi,  299.     Vol.  II.  pp.  272. 

Reprint  of  Joseph  Collyer's  translation,  London,  1763,  [1772?]     Cf.  9. 

149.  [Kotzebue,  A.  F.  F.  von.]  The  Beautiful  Unknown,  &c. 
Cf.  150. 

150.  [Kotzebue,  A,  F.  F.  von.]  Zaida;  or,  the  Dethronement  of 
Muhammed  IV.  A  novel,  founded  on  historic  facts.  Translated  from 
the  German  of  Augustus  von  Kotzebue.  To  which  is  added,  the 
Beautiful  Unknown,  a  dramatic  history,  by  the  same  author.  By 
Charles  Smith.  Copy-right  secured.  The  last  London  edition. 
New- York:    pubHshed   by    Burnton   and    Darling,    116    Broadway. 


94  Early  Influence  of  German  Literature  in  America. 

1811.         16°.     Zaida,  &c.     pp.  5-213.     The  Beautiful  Unknown, 
&c.     [Separate  title,  identical  with  98.]     pp.  50. 

Possibl}-  prints  98  and  100  provided  with  a  new  general  title. 

151.  [Salzmann,  C.  G.]  Elements  of  Morality  for  the  Use  of 
Children.  Translated  from  the  German  [by  M.  Wollstonecraft.] 
With  an  Introductory  Address  to  Parents.  First  Baltimore  edition, 
revised  and  corrected.     Baltimore.     1811.         12°. 

Mary  WoUstonecraft's  translation.     London.     1790.  ;  Cf.  29. 

1813. 

152.  [Schiller,  F.  von.]  The  Harper's  Daughter:  or,  Love  and 
Ambition.  A  tragedy,  in  five  acts.  Translated  from  the  German  of 
Schiller,  author  of  the  Robbers,  Don  Carlos,  &c.  By  M.  G.  Lewis, 
Esq.  M.  P.  Author  of  the  Monk.  And  now  published  with  con- 
siderable alterations,  as  performed  at  the  Philadelphia  and  Baltimore 
theatres.  Philadelphia:  published  by  M.  Carey,  No.  121,  Chesnut 
Street.     Printed  by  R.  &  W.  Carr.     1813.         16°.     pp.  5-76- 

Adapted  from  :  The  Minister.  A  tragedy.  In  five  acts.  Translated  from 
the  German  of  Schiller.  By  M.  G.  Lewis,  Esq.  M.  P.  London.  1797. 
[Kabale  und  Liebe.     1784.] 

153.  [Zimmermann,  J.  G.]  Solitude  considered  with  respect  to 
its  Influence  on  the  Mind  and  the  Heart.  Written  originally  in 
German,  by  M.  Zimmerman,  Aulic  Counsellor  and  Physician  to  His 
Britannic  Majesty  at  Hanover.  Translated  from  the  French  of  J.  B. 
Mercier.  To  which  is  prefixed  the  Life  of  Zimmerman.  Brooklyn. 
Printed  by  Alden  Spooner.     1813.         16°.     pp.  viii,  296. 

Apparently  reprint  of :        Solitude  considered  &c.     London.     1791.     Cf.  23. 

154.  [Zimmermann,  J.  G.]  Solitude:  written  originally  by  J. 
G.  Zimmermann.  To  which  is  added  the  Life  of  the  Author.  New- 
York:  published  by  David  Huntington.  C.  S.  Van  Winkle,  printer. 
1813.  [Preceded  by  a  shorter  engraved  title  dated  1814.]  24°. 
pp.  v-viii  t.  pref.,  9-15  Life  of  Zimmermann,  17-402. 

Reprint  of:  Solitude;  or,  the  Effects  of  occasional  Retirement  on  the 
Mind,  the  Heart,  General  Society,  in  Exile,  in  Old  Age,  and  on  the  Bed  of 
Death.  London.  1797.  [A  different  English  version  from  those  mentioned 
before.] 

1814. 

155.  [Goethe,  J.  W.  von.]  Goetz  of  Berlichingen,  with  the 
Iron  Hand.     Translated  from  the  German  of  Goethe.     By  Walter 


Frederick  H.  Wilkens.  95 

Scott,  Esq.     New- York:  published  b}'' A.  H.  Inskeep.     Van  Winkle 
and  Wiley,  printers.     1814.         24°.     pp.  5-13  t.  pref.,  17-206. 

Reprint  of:  Goetz  of  Berlicliingen  &c.  London.  1799.  [Goetz  von 
Berlichingen  mit  der  eisernen  Hand.     1773.] 

156.  [Iffland,  A.  W.]  The  Good  Neighbor;  an  interlude;  in  one 
act.  Altered  from  a  scene  of  IfiQand's  by  William  Dunlap.  New 
York.     D.  IvOngworth.     1814.         12°.     pp.  12. 

A  translation  from  Iffland  by  William  Dunlap  of  New  York.  [Possibly:  Die 
Nachbarschafl.     1807.] 

157.  [Kotzebue,  A.  F.  F.  von.]  The  Corsicans:  a  drama,  in 
four  acts.  Translated  from  the  German  of  Augustus  Kotzebue. 
[From  the  second  lyondon  edition,  of  1799]  New- York:  published 
by  David  lyongworth,  at  the  Dramatic  Repository,  Shakspeare- 
Gallery.     April  —  1814.         16°.     pp.  79. 

Reprint  of :  The  Corsicans,  &c.  Second  edition.  London.  1799.  [Die 
Corsen.     1799.] 

158.  [Kotzebue,  A.  F.  F.  von.]  I,overs'  Vows;  A  play,  in  five 
acts.  From  the  German  of  Kotzebue.  By  William  Dunlap.  As 
performed  at  the  New- York  Theatre.  New-York:  published  by 
David  lyongworth,  at  the  Dramatic  Repository,  Shakespeare-Gallery. 
Feb.  —  1814.     16°.     pp.  5-74. 

A  translation  (by  William  Dunlap,  New  York)  of:  Das  Kind  der  Liebe. 
Leipzig.     1791. 

159.  [Lafontaine,  A.  H.  J.]  Romulus;  a  tale  of  ancient  times. 
From  the  German  of  A.  I,a  Fontaine.     Baltimore.     1814. 

Probably  a  reprint  of  :  Romulus  &c.     Translated  by  the  Rev.  P.  Will. 

London.     1799.      [Romulus.     1798.] 

160.  Peter  the  Great;  or,  the  Russian  Mother:  a  play,  in  five  acts. 
Altered  from  the  German,  by  Wm.  Dunlap.  As  performed  at  the 
New-York  Theatre.  New  York:  published  by  David  Longworth, 
at  the  Dramatic  Repository.  Shakspeare  Gallery.  March  —  18 14. 
12''.     pp.  56. 

A  translation  and  alteration  from  the  German  by  William  Dunlap  of  New 
York. 

1815. 

161.  [Gessner,  S.]  The  Death  of  Abel.  In  five  books.  At- 
tempted from  the  German  of  Mr.  Gessner.  By  Mary  Collyer.  To 
which  is  added,  the  Death  of  Cain.  In  five  books.  Brattleborough, 
(Vt.)     Published  by  John  Holbrook.     1815.         24°.     pp.  i79- 


96  Early  Influence  of  German  Literature  in  America. 

The  Death  of  Cain.  In  five  books;  after  the  manner  of  the  Death 
of  Abel.     By  a  Lady.  .    .    .         Brattleborough,  Vt.     Published 

by  John  Holbrook.     1815.         24°.     pp.82. 

Mary  Collyer's  translation  of  the  Death  of  Abel,  London,  1761,  (Cf  1);  and 
reprint  of:        The  Death  of  Cain,  London,  [1790?]     Cf.  13. 

162.  [Gessner,  S.,  suggested  by  G.'s  Death  of  Abel]  The  Death 
of  Cain.     Cf.  161. 

163.  [Jung-Stilling,  J.  H.]  Scenes  in  the  World  of  Spirits,  of 
Henry  Stilling,  Professor  of  the  University  at  Marburg,  (Germany.) 
Translated  from  the  third  original  edition.  "  In  my  Father's  House 
there  are  many  mansions."  New-Market:  printed  by  Ambrose 
Henkel  &  Co.  [1815.]  16°.  [p.  ii]  copyright,  pp.  iii-iv  t. 
pref.,  pp.  v-xii  a.  prefaces,  282.     (i  sheet  of  errata  pasted  in). 

A  translation  (by  Gottlieb  Shober,  Salem,  N.  C. )  of:  Scenen  aus   dem 

Geisterreiche.     1797-1S01.     (Copyright,  N.  C.  District,  Jan.  13th,  A.  D.  1S15, 
by  Gottlieb  Shober.     The  t.  pref.  is  signed  G.  S. ) 

1818. 

164.  [Kotzebue,  A.  F.  F.  von.]  Pizarro,  a  tragedy,  in  5  acts; 
taken  from  the  German  drama  of  Kotzebue;  and  adapted  to  the 
English  stage.  By  R.  B.  Sheridan.  Boston.  West  &  Richardson. 
1818.         16°.     pp.  69. 

Reprint  of:         Pizarro,  &c.     London.     1799.     Cf.  60. 

165.  [Plumptre,  Anne  and  Annabella.]  Tales  of  Wonder,  of 
Humour,  and  of  Sentiment;  original  and  translated.  By  Anne  and 
Annabella  Plumptre.  In  two  volumes.  Vol.  I.  Containing  Zelis; 
the  Weather-cock;  the  Magic  Dollar;  the  Spectre  of  Presburg.  New- 
York:  published  by  James  Eastburn  &  Co.,  at  the  Literary  Rooms, 
corner  of  Broadway  and  Pine  Streets.     A.  Paul,  printer.     1818. 

Vol.  II.  Containing  The  Fair  of  Beaucaire;  Tsching-Quang;  the 
Family  of  Valencia;  Fanny;  Omar  and  Zemida;  Philosophy  and 
Love. 

12°.     Vol.  I.  pp.  3-255.     Vol.  II.  pp.  234. 

Reprint  of:  Tales  of  Wonder,   &c.     3  vols.     London.     1S18.     It  seems 

to  contain  some  tales  from  the  German. 

166.  [Schlegel,  C.  W.  F.]  Lectures  on  the  History  of  Litera- 
ture, Ancient  and  Modern.  From  the  German  of  Frederick  Schlegel. 
In  two  volumes.  Vol.  I.  Philadelphia:  published  by  Thomas  Dob- 
son  and  Son,  at  the  Stone  House,  No.  41,  South  Second  Street. 


Frederick  H.  Wilkeiis.  97 

William  Fry,  printer.     1818.         8°.     Vol.   I  pp.  v-vi  cont.,  [p.  vii] 
t.  statement,  pp.  346.     Vol.  II.  pp.  v-vii  cont.,  130. 

Reprint  of  :  Lectures  on  the  History  of  Literature,  &c.  Edinburgh.  1S18. 
[Friedrich  Schlegel's  Geschichte  der  alten  und  neuen  Litteratur.  2  Teile. 
1815.] 

1819. 

167.  [Kotzebue,  A.  F.  F.  von.]  Pizarro:  a  tragedy,  in  five 
acts;  taken  from  the  German  drama  of  Kotzebue;  and  adapted  to 
the  English  stage.  By  Richard  Brinsley  Sheridan.  New-York: 
published  by  Thomas  Long  worth,  at  the  Dramatic  Repository, 
Shakspeare-Galler}\     November,  1819.         16°.     pp.  5-68. 

Reprint  of:         Pizarro,  etc.     London.     1799.     Cf.  60. 

168.  [Zimmermann,  J.  G.]  On  Solitude.  New  York.  1819. 
24°. 

1820. 

169.  [Kotzebue,  A.  F.  F.  von.]  The  Confession.  In  verse. 
A  comedy,  in  one  act.     Translated  from  Kotzebue.     Philadelphia. 

1820.  12° 

A  translation  of:  Die  Beichte.  In:        Almanach  fiir  1S06.     Leipzig. 

1805. 

170.  [Zschokke,  J.  H.  D.]  Abaellino,  the  Great  Bandit.  A 
grand  dramatic  romance,  in  five  acts.  Translated  from  the  German, 
and  adapted  to  the  New-York  Theatre,  by  William  Dunlap,  Esq. 
Fourth  edition — copyright  secured.  New- York:  published  by 
Thomas  Eongworth,  at  the  Dramatic  Repository,  Shakspeare-Gal- 
lery,  Jan.  —  1820.         12°.     pp.  66. 

William  Dunlap's  translation  of  Zschokke's  Abaellino.     Cf.  96. 

1821. 

171.  [Sturm,  C.  C]  Reflections  on  the  Works  of  God;  by  C.  C. 
Sturm.  Translated  from  the  German  by  Rev.  Dr.  Balfour.  2  vols. 
Philadelphia :  printed  and  published  by  Hickman  &  Hazzard, 
No.  121  Chestnut  Street;  and  Hazzard  &  Hickman,  Petersburg,  Va. 

1821.  Vol.  I.  pp.  iii,  328.     Vol.  II.  pp.  364. 

Reprint  of:  Reflections  on  the  Works  of  God.  London.  [iSoo?]  [Rc- 
trachtungen  iiber  die  Werke  Gottes  in  Reiche  der  Natur.     1785.] 

172.  [Zschokke,  J.  H.  D.]  Sylvester  Eve,  or  the  Adventures 
of  a  Watchman. 

In:         Tales  of  the  Tripod  ;  or  a   Delphian  Evening.     By  Perti- 
nax  Particular.     Baltimore ;   published  by  Fielding  Eucas,  jr.    J. 
7 


98  Early  Influence  of  German  Literature  in  America. 

Robinson,  printer.     1821.     16°.  pp.  v-xii  t.  pref.,  162.     [Sylvester 
Eve,  pp.  13-136-] 

A  translation  (by  Tobias  Watkins  [pseud.  Pertinax  Particular.],  Balti- 
more) of:  Das  Abenteuer  der  Neujahrsnaclit.  [First  publ.  in:  Erheiter- 
ungen.  Eine  Monatssclirift  fiir  gebildete  Leser.  1818,  i,  5  fF.]  "The  first 
tale  entitled  "Adventures  of  a  Watchman  "  is  taken  from  an  anonymous  Ger- 
man correspondent  of  the  Leesefruchte.  It  pleased  me,  and  I  did  it  into  Eng- 
lish expressly  to  amuse  the  Delphian  Club",   (t.  pref). 

1822. 

173.  [La  Motte  Fouque,  Baron  F.  H.  C.  de.]  Minstrel  I^ove, 
from  the  German,  by  George  Soane.     New  York.     1822. 

Reprint  of:        Minstrel  Love,  &c.    London.     1821.     [Sangerliebe.     1816.] 

1823 

174.  [Kotzebue,  A.  F.  F.  von.]  Pizarro.  A  tragedy  in  five 
acts.  Taken  from  the  German  drama  of  Kotzebue,  and  adapted  to 
the  English  stage  by  R.B.Sheridan.  Philadelphia:  Turner  &  Son. 
1823.         24°.     pp.  56  (3). 

Sheridans  adaptation.     London.     1799.    Cf    60. 

175.  [ZoUikofer,  G.  J.]  Examination  of  some  Principles  and 
Rules  of  Conduct  in  Religious  Matters,  partly  false,  and  partly  misun- 
derstood; in  two  sermons.  [On  Matt.  xv.  13.]  By  the  Rev.  G.  J. 
ZoUikofer.  Printed  for  the  "Tract  and  Book  Society  of  the  Evan- 
gelical lyiitheran  Church  of  St.  John."  Joseph  Rakestraw,  printer. 
Philadelphia.     1823.         12°.     pp.  56  -f .     [copy  imperfect]. 

1823-24? 

176.  Ivife  of  Dr.  Faustus  .  .  .  his  horrible  Death,  &c.  12°. 
frontispiece.  [In  a  collection  of  New- York  chap-books,  published  \yy 
W.  Borradaile,  150  Fulton  St,  (1823-24)  and  Solo.  King,  150 
William  Street.     (1821-1830).]     (Brinley  Catalogue.) 

Possibly  reprint  or  adaptation  of  an  English  chap-book. 

1824. 

177.  [Chamisso,  A.  von.]    Peter  Schleraihl :  from  the  German  of 
Lamotte   Fouque.     With  plates  by  George   Cruikshank.  .    .    . 
Boston  :  Wells   and  lyilly — Court-street.     1824.         16°.  pp.  vii-viii 
introd.,  [p.  ix]   notice,  [p.  xi]  a.  dedication,  pp.  139.     5  pi. 

Reprint  of:  Peter  Schlemihl,  &c.  [Translated  by  Sir  J.  Bowring.]  Lon- 
don. 1824.  LaMotte  Fouque  was  only  editor,  not  author,  of  the  work.  [Peter 
Schlemihls  wundersame  Geschichte.  Herausgegeben  von  Fr.  Baron  de  la  Motte 
Fouque.     Niirnberg.     1814.] 


Frederick  H.   Wilkens,  '  99 

178.  [Goethe,  J.  W.  von.]  Memoirs  of  Goethe:  written  b3^ 
himself.  New- York  :  published  by  Collins  &  Haunay,  230  Pearl- 
street,  and  Collins  &  Co.  117  Maiden-Lane.  J  &  J.  Harper, 
printers.  1824.  8°.  pp.  iii-iv  t.  pref.,  v-viiicont.,  9-360  (pp.  292- 
298  post  script,  299-360  biographical  notices). 

Reprint  of:  Memoirs  of  Goethe,  &c.  London.  1824.  [Aus  meinem 
Leben  :  Dichtung  uud  Wahrheit.     1S11-14.] 

179.  [La  Motte  Fouque,  Baron  F.  H.  C.  de.]  Undine,  a  tale 
from  the  German.     Boston.      1824. 

Possibly  reprint  of :  Undine,  a  romance.  Translated  from  the  German 
by  G.  Soane.     London.     1S18.     [Undine.     1811.] 

180.  [LaMotte  Fouque",  Baron  F.  H.  C.  de.]  Undine.  A  tale. 
From  the  German  of  Frederick,  Baron  de  Motte  Fouque.  Philadel- 
phia :  published  by  E.  Littell.     1824. 

Possibly  reprint  of:        Undine  &c.     Translated  l)y  G.  Soane.     Cf.  179. 

1825  or  before. 

181.  [Schiller,  F.  von.]  The  Robbers.  Baltimore.  Joseph 
Robinson. 

Mentioned  at  back  of:  Poems  by  Edward  C.  Pinkney.  Baltimore.  Joseph 
Robinson.     1825.     Apparently  published  by  Robinson. 


Translations  from  the  German  Bearing  no  Date,  but 
Apparently  Printed  Before  1826. 

182.  [Campe,J.  H.]     Columbus,  or  the  Discovery  of  America; 
as  related  by  a  father  to  his  children  and  designed  for  the  instruction 
of    5'outh.       Translated    from    the   German,   bj'    Elizabeth    Helme. 
Bo.ston,  Miniroe  &  Francis.     New  York,   Charles  S.   Francis. 
24°,  pp.  270. 

Reprint  of:         Columbus,  &c.     2  vols.     London.     1799.     [Part  of:  Die 

Entdecknng  von  Amerika.      1781-82.]     The  firm  Munroe  &  Francis  dates  from 
a1)out  1 810. 

183.  [Campe,  J.  H.]  Cortez;  or,  the  Conquest  of  Mexico. 
Translated  from  the  German  of  J.  H.  Campe  1iy  IClizal^eth  Ilelmc. 
Boston:  Munroe  and  Francis,  and  Charles  S.  Francis,  New  York. 
12°.     pp.  255. 

Reprint  of :  Cortez  &c.  2  vols.  London.  1799.  [Part  of:  Die  Kiit- 
deckung  von  Amerika.     1781-82.] 


lOO  Early  Influence  of  Germa7i  Literature  in  America. 

184.  [Campe,  J.  H.]  Pizarro;  or,  the  Conquest  of  Peru.  Trans- 
lated from  the  German  by  Elizabeth  Helme.  Boston:  Munroe  and 
Francis.    New  York:  Charles  S.  Francis,         24°.     pp.  228.    pi. 

Reprint  of:  Pizarro,  &c.  London.  1799.  [Part  of:  Die  Entdeckung 
von  Amerika.     17S1-82.] 

185.  [Kotzebue,  A.  F.  F.  von.]  Pizarro.  Adapted  by  R.  B. 
Sheridan.  New  York.  Naphthali  Judah.  16°.  [p.  3]  dedica- 
tion, [p.  4]  t.  adv.,  [p.  5]  prologue,  pp.  7-74.  [Title  page  wanting 
in  copy  examined.] 

Sheridan's  adaptation.  London.  1799.  Cf  60.  The  probable  date  of  the 
reprint  is  1799. 

186.  [Kotzebue,  A.  F.  F.  von.]  The  Stranger,  or,  Misanthropy 
and  Repentance.  A  drama.  Translated  from  the  German  by  G. 
Papendick.  Boston.  Printed  by  John  Russell  at  his  Office  in 
Quaker  Lane.         12°. 

Reprint  of :  The  Stranger,  &c.     London.      1798.      [Menschenhass  und 

Rene.     1789.] 

187.  [Zimmermann,  J.  G.]  Solitude  considered  with  respect  to 
its  Influence  on  the  Mind  and  the  Heart.  Written  originally  in 
German,  by  M.  Zimmerman,  Aulic  Counsellor  and  Physician  to  His 
Britannic  Majesty  at  Hanover.  Translated  from  the  French  of  J.  B. 
Mercier.  First  New-York  edition.  Printed  by  Mott  &  Lyon:  for 
Evert  Duyckinck  &  Co.,  C.  Davis,  J.  Harrisson,  J.  Fellows  , J.  Lyon, 
N.  Judah,  and  P.  Mesier.         12°.     pp.  v,  328. 

Apparently  a  reprint  of :  Solitude  considered  c&c.  London.  1791.  Cf.  23. 
Probably  printed  about  1793-1800.  This  edition,  which  is  a  12°  by  signatures 
and  A.  L.  A.  standard,  is  evidently  distinct  from  105,  an  octavo. 


INDEX; 

The  numbers  refer  to  those  in  the  "  List  of  Translations." 

Campe,  J.  H. 

Columbus,  182  (n.  d.). 

Cortez,  183  (n.  d. ). 

The  New  Robinson  Crusoe,  12  (1790),  102  (1803  or  before),  147 

(181 1)  [abridged]. 
Pizarro,  184  (n.  d.). 


Frederick  H.  WilkcJis.  loi 

Cliamisso,  A.  von. 

Peter  Schlemihl,  177  (1824). 
The  Devil  and  Dr.  Faustus,  115  (1807). 
Dunlap,  W. 

Dramatic  Works,  114  (1806-16). 
Eliza,  or  the  Pattern  of  Women,  84  (1802). 

Faustus,  The  Life  of  Dr.  Faustus,  25  (1795),  176  (1S23-1824?). 
Cf.  also,  the  Devil  and  Dr.  Faustus. 
The  Necromancer  or  Harlequin  Dr.  Faustus   [suggested  by  Dr. 
Faustus],  26  (1795). 
The  German  Theatre,  translated  b}'  W.  Dunlap,  47  (1800). 
Gessner,  S. 

The   Death  of  Abel,  i    (1762),  2   (1762),  3  (1765),  4  (1767),  5 

(1770),   6   (1770?),    17    (1791),  19  (about   1791),  24   (1794?), 

30(1795    or   before),    85    (1802),    103    (1803  or   before),    in 

(1806),  112  (1806),  116  (1807),  123  (1808),  161   (1815). 

The   Death  of  Cain,  by  a  Lady,  [suggested   by   G.'s    Death    of 

Abel,]  13  (1790),  18  (1791),  20  (1793),  162  (1815). 
New  Idylls,  86  (1802),  87  (1802),  117  (1807). 
Goethe,  J.  W.  von, 

Goetz  von  Berlichingen,  155  (1814). 

Herman  and  Dorothea,  104  (1805). 

Memoirs  of  Goethe,  178  (1824). 

The  Sorrows  of  Werter,  8  (1784),  10  (1789),  27  (1795),  39  (1798), 

118  (1807),  119  (1807). 
The  Letters  of  Charlotte,  [suggested  by  the  Sorrows  of  Werter,] 
35  (i797)>  40  (1798),  120  (1807). 
Haller,  A.  von. 

Letters  from  Baron  Haller  to  his  Daughter,  97  (1803). 
Iffland,  A.  W. 

The  Good  Neighbor,  156  (1814). 
Jung-Stilling,  J.  H. 

Scenes  in  the  World  of  Spirits,  163  (1815). 
Klopstock,  F.  G. 

The  Messiah,  9  (1788),  28  (1795),  148  (181 1). 

The  Messiah,  attempted  in  verse,  by  S.  Hailing,  [taken  from  K.'s 

Messiah,]  141    (1810). 
Memoirs  of  F.  G.  and  M.  Klopstock,  140  (1810). 


I02  Early  Influence  of  German  Litcrahire  in  America. 

Knigge,  A.  F.  F.  L. 

Practical  Philosophy  of  Social  Life,  109  (1805). 

Kotzebiie,  A.  F.  F.  von. 

Abbe  de  I'Epee,  or  the  Orphan,  72  (1801). 

Adelaide  of  Wulfingen,  48  (1800). 

Of  Age  to  morrow,  125  (i8o8). 

The  Beautiful  Unknown,  98  (1803),  149  (1811  ?). 

The  Confession,  169  (1820). 

The  Constant   Lover,   or,   WilHam  and  Jeanette,    41    (1799).  42 

(1799),  73  (1801). 
The  Corsicans,  157  (18 14). 

Count  Benj^owsky,  42  (note),  49  (1800),  99  (1803). 
The  Count  of  Burgundy,  50  (1800),  91  (note). 
The  Dramatic  Works  of  Baron  Kotzebue,  51  (1800). 
The  East  Indian,  52  (1800). 
False  vShame,  or  the  American  Orphan  in  Germany,  53  (1800),  74 

(1801),  91  (note). 
The  Force  of  Calumny,  54  (1800). 
Fraternal  Discord,  75  (1801),  91  (note),  132  (1809). 
The  Happy  Family,  55  (1800). 
Ildegerte,  Queen  of  Norway,  56  (1800). 
Indigence  and  Nobleness  of  Mind,  57  (1800). 
La  Pey rouse,  58  (1800). 
The  Life  of  Kotzebue,  83,  (1801  ?) 

Lovers'  Vows,  42  (note),  88  (1802),  133  (1S09),  15S  (1S14). 
The  Most  Remarkable  Year  of  his  Life,  89  (1802). 
The  Pigeon,  90  (1802). 
Pizarro,  45  (1799),  59  (i8oo),  60  (1800),  T34  (1809),  164  (1818), 

167  (1819),  174  (1823),  185  (1799?)- 
The  Rights  ot  Hospitality,  129  (1808?). 
Self-immolation,  43  (1799),  61  (1800). 
Sighs,  or  the  Daughter,  62  (1800). 
Sketches  of  the  Life  of  Kotzebue,  76  (1801). 
The  Stranger,  44  (1799),  77  (1801),  91  (1802),  130  (1808?),  186 

(n.  d). 
The  Sufferings  of  the  Family  of  Ortenberg,  63  (1800). 
The  Virgin  of  the  Sun,  64  (1800),  65  (1800). 
The  Widow  and  the  Riding  Horse,  66  (1800). 
The  Wild-goose  Chace,  67  (1800). 


Frederick  H.   Wilkeiis. 


lOX 


The  Wild  Youth,  68  (1800). 
The  Writmg  Desk,  78  (1801), 

Zaida,  or  the   Dethronement  of   Muhamed   IV,  100   (iSoO     iso 
(i8ii).  '     ^ 

"Lady,"  A. 

The  Death  of  Cain.     Cf.  Gessner. 
Lafontaine,  A.  H.  J. 
Romulus,  159  (18 14). 

The  Village  Pastor  and  his  Children,  142  (18 10). 
La  Motte  Fouque,  Baron  F.  H.  C.  de. 
Minstrel  Love,  173  (1822). 
Undine,  179  (1824),  180  (1824). 
Lavater,  J.  K. 

Aphorisms  on  Man,  14  (1790),  15  (1790),  16  (1790),  21  (1793). 
Essays  on  Physiognomy,  106  (1803  or  before?). 
Lessing,  G.  E. 
Emilia  Galotti,  143  (1810). 
Lucy  Sampson,  11  (1789). 
The  Letters  of  Charlotte.     Cf.  Goethe. 
Lewis,  ]\I.  G. 

Romantic  Tales,  135  (1809). 
Tales  of  Wonder,  79  (1801). 
He  loves  me  better  than  his  Life;  or  Hulwi-,  Clara  and  Randoli)li. 

124  (1808). 
The  Necromancer,  or  Harlequin  Dr.  Faustus.     Cf  Faustus. 
Pestalozzi,  J.  H. 

Leonard  and  Gertrude,  80  (1801). 
Peter  the  Great,  or  the  Russian  Mother,  160  (1814). 
Plumptre,  A.,  and  A. 

Tales  of  Wonder,  165  (18 18). 
Salzmanii,  C.  G. 

Elements   of    Morality,    29    (1795),    31    (1796),   32    (1796),    104 
(1803  or  before),  151  (1811). 
Schiller,  F.  von. 

The  Armenian,  71  (1800?- 1803). 
Cabal  and  Love,  92  (1802). 


I04  Early  Influence  of  German  Literature  in  America. 

Fiesco,  93  (1802). 

The  Ghostseer,  33  (1796). 

The  Harpers  Daughter,  152  (18 13). 

The  Robbers,  22   (1793),  94  (1802),    131  (180S?),  181    (1825  or 

before). 
Wallenstein  (Piccolomini),  no  (1805). 

Schlegel,  C.  W.  F. 

Lectures  on  the  History  of  lyiterature,  166  (18 18). 
Select  Plays,  95  (1802). 
Sonnleitlmer,  J. 

The    Fortress   of    Sorrento,    [adapted  from   S.'s   Leonore,]    126 
(1808). 

Spiess,  C.  H. 

The  Mountain  Cottager,  69  (1800). 

Sturm,  C.  C. 

Beauties  of  Nature,  70  (1800),  81  (1801). 
Moral  and  Natural  Philosophy,  38  (1797?). 
Reflections,  171  (1821). 

Vulpius,  C.  A. 

Rinaldo  Rinaldini,  [dramatized  from  V.'s  Rinaldo  Rinaldini,]  144 
(1810). 
Wachter,  G.  P.  L.  L. 

The  Black  Valley,  82  (1801). 

Weber,  Veit.     Pseudonym  for  Wachter, 

Wieland,  C.  M. 
Oberon,  145  (1810). 
Socrates  out  of  his  Senses,  36  (1797). 
Zimmermann,  J,  G. 

Essay  on  National  Pride,  146  (1799). 

Solitude,  23  (1793),  34  (179^).  37  (i797).  i05  (1803  or  before), 
107  (1804),  127  (1808),  153  (1813),  154  (1814),    168    (1819), 
187  (n.  d.). 
Strictures  on  National  Pride,  7  (1778). 

Zollikofer,  G.  J. 

Caution  against  Unchastity,  128  (1808). 
Examination  of  some  Principles,  175  (1823). 


Frederick  H.   Wilkens.  105 

Exercises  of  Piety,  loi  (1803),  121  (1807). 
Sermons  on  the  Dignity  of  Man,  122  (1807). 
Sermons  on  Education,  136  (1809). 
Seven  Sermons  on  the  Reformation,  137  (1809). 
Zschokke,  J.  H.  D. 

Abaellino  (drama),  96  (1802),  113  (1806),  170  (1820). 
AbaelHno  (novel),  138  (1809),  139  (1809). 
Rugantino,  [dramatized  from  Z.'s  Abaellino,]  146(1810). 
Sylvester  Eve,  172  (1821). 

Frederick  H.  Wilkens. 


V 


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